SJG33O 


BETTER 
CITIZENSHIP 


THROUGH 


H03CODOCS 


71 RT 

TRAINING 


BY 
MINNA  MCLEOO  BECK 


BETTER  CITIZENSHIP 
THROUGH  ART  TRAINING 


BETTER  CITIZENSHIP 
THROUGH  ART  TRAINING 

A  Syllabus  for  High  Schools, 
Colleges,  or  Study  Clubs 


By 

MINNA  McLEOD  BECK,  M.A. 

Art  Director,  Public  Schools,  Harrisburg,  Pa. 


CHICAGO 
A.  C.  McCLURG  &  CO. 

1921 


Copyright 

A.  C.  McCLURG  &  CO. 
1921 

Published  February,  1921 


M     A.   DONOHUC  *  COH 


DEDICATED  TO 

ARTHUR  W.  DOW 

of  Columbia  University 

"/  hold  that  art  should  be  approached  through 
composition  rather  than  through  imitative  drawing  " 


2016054 


ACKNOWLEDGMENT 

When  I  first  gathered  data  and  material  of  various 
sorts  on  art  subjects  it  was  wholly  for  my  own  use  in 
classwork  without  a  thought  of  publication  at  the  time. 
Often  at  lectures  or  from  my  reading  I  jotted  down 
things  worth  while  and  in  this  way  collected  many 
valuable  notes  to  which,  however,  I  did  not  always 
append  the  name  of  the  speaker  or  writer.  Hence  the 
frequent  quotation  marks  and  seeming  inconsistency 
in  crediting  source. 

In  freely  using  the  words  of  others  and  passing  on 
their  thought,  I  feel  that  I  am  enlisting  their  various 
services  in  the  great  cause  of  good  citizenship. 

To  the  many  who  have  thus  contributed  so  much 
valuable  material  my  grateful  acknowledgment  is  ten- 
dered. 

THE  AUTHOR 


FOREWORD 

"Art  should  not  be  for  the  few  any  more  than  lib- 
erty is  for  the  few."  Educators  are  beginning  to 
realize  more  and  more  the  truth  of  this  creed  of 
William  Morris.  Educationally,  it  should  be  made 
impossible  for  anyone  to  deprecate  the  fact  that  he 
"knows  nothing  about  art."  The  power  to  feel  and 
to  express,  to  judge  and  to  execute,  lies  dormant  in 
every  soul ;  in  some  to  a  greater  degree  than  in  others. 
Those  with  the  greater  inherited  capacity  and  better 
training  will  become  creative  artists,  perhaps;  but  all 
may  become,  at  least  to  some  extent,  users  of  good 
judgment  and  taste.  So  intimately  are  we  in  touch 
with  art  principles  in  our  daily  lives,  that  we  con- 
stantly use  or  misuse  them. 

With  practical  art  training,  there  is  no  reason  why 
any  boy  who  grows  up  to  be  a  carpenter  should  not 
know  that  a  door  or  window  that  equals  two  squares 
is  a  commonplace  proportion,  nor  is  there  any  reason 
why  the  president  of  a  bank  or  the  superintendent  of 
a  school  who  engages  the  carpenter  should  not  know 
that  the  portico  of  his  house  is  ill  proportioned  and 
why,  should  it  be  so.  With  practical  art  training, 
every  girl  should  know  how  to  dress  simply  and  in 
good  taste,  and  knowledge  of  color  harmony  should 
be  general.  The  wish  to  have  a  well-planned,  beauti- 
ful city  is  a  matter  of  training,  education;  and  the  wish 
is  father  to  the  thought. 


Foreword 


The  course  of  study,  as  outlined  here,  is  designed 
to  give  a  general  training  or  appreciation  to  those  who 
will  have  no  further  opportunity  to  study  the  subject; 
or,  preferably,  it  may  supplement  exercises  in  design 
or  art  structure.  The  somewhat  prevalent  idea  that 
art  appreciation  means  the  appreciation  of  pictures 
only,  influences  us,  perhaps,  to  take  up  pictorial  art 

£-  last.  Such  subjects  as  city  planning,  landscape  gar- 
dening, house  decoration,  and  costume  design  are  too 
little  thought  of  in  connection  with  art  principles. 

tl  \  This  outline  is  meant  to  be  suggestive,  flexible,  to 
point  out  the  way,  and  to  stimulate  the  desire  for  orig-  /  ? 
inal  research  work.  Its  study  may  be  taken  up  by/  t" 
individuals,  but  the  best  results  are  to  be  obtained 
working  in  groups  under  leadership.  It  has  been 
found  very  helpful,  in  this  sort  of  study,  to  keep  note- 
books wherein  findings  of  various  sorts,  clippings, 
magazine  illustrations,  etc.,  may  be  kept.  Each  note- 
book should  be  the  expression  of  the  taste,  judgment, 
and  the  sense  of  value  of  its  owner.  There  should 
be  individual  choice  in  the  matter  of  tracings,  clip- 
pings, etc.,  so  that  each  notebook  shall  be  characteristic 
of  its  owner,  and,  therefore,  the  more  interesting. 

Following  the  approved  method  of  modern  ped- 
agogy, the  student  should  be  encouraged  by  the  teacher 
or  leader  of  a  group  to  inquire  into  all  reference  mate- 
rial and  to  collect  his  own  data  as  far  as  possible. 

The  bibliography  at  the  end  of  each  subject  should 
be  added  to  from  time  to  time,  as  new  works  on  the 
subject  are  published. 

MINNA  MCLEOD  BECK 


CONTENTS 

Part  I 

GENERAL   THEORY   OF   ART 

Page 
General  Theory  of  Art I 

Part  II 

PRACTICAL    APPLICATION    OF    ART    PRINCIPLES 

City    Planning 13 

Garden    Cities 31 

Landscape   Gardening   .     ...     *     ....  34 

Architecture     ....     .  _.     .     .     .     .     .     .  45 

House  Decoration     .     .     ,    _.     ....     .     .     .  54 

William  Morris    ,     .    -v-  . 82 

Costume  Design  .     .     .     . 87 

Art  History     .     . 103 

Status  of  Art  Education  in  the  United  States     .  108 


PART  I 
General  Theory  of  Art 


Better  Citizenship  Through 
Art  Training 


GENERAL  THEORY  OF  ART 

The  Three  Elements  Structural  Principles: 

of  Art:  i.  Symmetry  or  Balance 

1.  Line  2.  Repetition  or  Rhythm 

2.  Tone  3.  Opposition 

3.  Color  4.  Transition 

5.  Subordination 

GENERAL  DEFINITION  OF  ART 

Art  in  one  word:     Arrangement. 
Question:    Arrangement  of  what? 
Answer:    The  three  elements  —  Line,  Tone,  Color.    " 
Question:    Arranged  how? 

Answer:     According  to  certain  laws  or  principles, 
namely,  Opposition,  Repetition,  etc. 

USES  OF  ART 

1.  To    the    Community    (city   planning,    landscape 
gardening,  etc.). 

2.  To  the  Home   (house  construction  and  decora- 
tion, etc.). 

i 


Better  Citizenship 


3.  To  the  Individual  (costume  design,  development 
of  good  taste). 

4.  As  Pictorial  Expression  (from  both  the  creative 
and  appreciative  standpoints). 

METHOD  OF  APPROACH  TO  THE  STUDY  OF  ART 

The  old  academic  method  contrasted  with  the  new 
synthetic  or  compositional  method: 

The  one  method  makes  drawing  an  end  in  itself 
and  many  years  are  spent  working  from  the  cast  and 
life,  composition  being  a  mere  by-product. 

The  other  method  designs  to  train  the  creative  and 
inventive  powers  with  which  all  normal  individuals  are 
endowed,  and  to  put  drawing  in  its  rightful  place  as  a 
means  to  an  end — a  very  necessary  and  important,  but 
nevertheless  rightly  considered  tool. 

r^e-^ 

"  Drawing  isvthe  tool.by  which  ideas  are  expressed.", 
"  Drawing  is  only  one  application  of  art."    ', 
%  j    ^Choosing  is  thejcld  of  art." 

^   /     /"Nature  drawing  has  nothing  to  do  with  the  culti- 
'  •    I  v^tion  of  fine  choices." 

2  ^  *<Choice  is  the  concomitant  of  art." 

'  "  Separation  of  design  and  drawing  is  a  fatal  thing." 
"Art  is  built  up6 &f  certain  uses  of  order"  (arrange- 
ment). 

"Art,  after  all,  in  its  largest  sense,  lies  in  a  peculiar, 
harmonious  use  of  spacing;"  iA^* 

The  gf€at  purpose  of  art  instruction  is  to  train 
judgment  —  cultivate  the  appreciation  for  what  is  good 


Through  Art  Training 


in  proportion,  beautiful  in  line,  satisfactory  in  tone  re- 
lationship, and  harmonious  in  color.1 

Assignment:     Readings  and  further  note-taking. 

REFERENCES 

Dow,  Arthur  Wesley.  Composition.  See  "  Begin- 
nings," pp.  3,  4,  and  5.  Doubleday,  Page  &  Com- 
pany. 

Dow,  Arthur  Wesley.  Theory  and  Practice  of 
Teaching  Art.  See  "Academic  Art  Teaching,"  p.  2; 
and  "Synthetic  Teaching,"  p.  4.  Teachers  College, 
Columbia  University. 

BIBLIOGRAPHY 

Berenson,  Bernhard.  A  Sienese  Painter  of  the 
Franciscan  Legend.  E.  P.  Dutton  &  Co. 

Fenollosa,  Ernest  F.  Epochs  of  Chinese  and  Jap- 
anese Art.  Frederick  A.  Stokes  Company. 

Okakura-Kakuzo.  The  Book  of  Tea,  Duffield  & 
Company. 

Raymond,  George  L.  The  Genesis  of  Art  Form. 
G.  P.  Putnam's  Sons. 


i  The  Indian  woman  or  Oriental  rug-maker  has  an  art  education 
that  few  acquire  even  with  years  of  training.  The  constant  choices 
made  in  weaving  a  blanket  or  basket  or  rug  as  to  this  width  or  space, 
this  dark  or  light,  this  color  or  that  —  this  constant  appeal  to  judg- 
ment develops  the  power  of  discrimination.  If  then,  we  can  provide 
opportunity  for  making  choices,  we  are  educating  along  this  line. 
Therefore,  exercises  in  original  design,  and  more  exercises  in  original 
design !  Not  only  for  creative  work,  but  for  true  appreciation  also, 
the  element  of  participation  is  necessary;  therefore,  again,  exercises  — 
opportunities  for  choice-making.  (Note  assignments  under  Line,  Tone, 
and  Color.) 


Better  Citizenship 


Van  Dyke,  John  C.  What  Is  Art?  Charles  Scrib- 
ner's  Sons. 

THE  THREE  ELEMENTS 

/  I.  Line:  By  Line  is  meant  spacing.  A  good  line 
|  composition  is  one  that  is  broken  up  into  well-related 
)  spaces. 

By  analysis  of  the^imc  composition  of  great  mas- 
terpieces in  painting,  architecture,  etc.,  a»44>y  consult- 
4«g-0ttf- own  feeling  in  original -exercises,  we  find  that 
beauty  el-line  composTtron  is  the  result  of  variety  of 
shapes  and  sizes  of  spaces  and  a  harmonious  relation 
of  these. 

"The  term  Line  refers  to  boundaries  of  shapes  and 
the  interrelation  of  lines  and  spaces." 

Illustrative  matter  in  the  way  of  photographs,  or 
tracings  of  the  main  spacings  of  great  cathedrals,  etc., 
should  be  used  to  explain  this  element  of  art  to  class. 

Assignment:  a.  Make  tracings  of  the  spacings  of 
facades  of  buildings,  masterpieces  in  painting,  sculp- 
ture; also  illustrative  material  from  the  different 
crafts:  tracings  or  clippings  of  weavings,  furniture, 
metal  work,  etc. 

b.  Original  line  designs  or  exercises  in  square,  ob- 
long, and  circle. 

REFERENCES 

Dow.     Composition,  chap.  i. 

Dow.  Theory  and  Practice  of  Teaching  Art,  pp. 
8-15. 


Through  Art  Training 


SIGNIFICANCE  OF   LINE  DIRECTION 

1.  Vertical  Line:    Majesty,  dignity,  grandeur,  cour- 
age, sternness,  sublimity,  austerity,  etc. 

Example  in  nature :    Tall  forest  trees. 
Example  in  architecture :    Great  columns,  etc. 

2.  Horizontal  Line:    Rest,  calmness,  serenity,  peace, 
quiet,  tranquillity,  death,  finality. 

Example  in  nature :  Horizon  line  on  plain  or  ocean 
when  calm. 

Example  in  architecture :  Long,  low  lines  of  bunga- 
low, etc. 

j.  Oblique  Line:  Motion,  movement,  joy,  horror, 
treachery,  threat,  anxiety,  weirdness,  etc.  The  zigzag 
line,  a  line  of  action  and  violence  —  the  "busy  line." 

Example :    The  ocean  in  storm,  lightning,  etc. 

4.  The  Curve  Line:  Beauty,  grace,  elegance.  Re- 
strained curves  more  beautiful  and  refined.  Half  of 
circumference,  a  commonplace  curve. 

Example:    The  human  body,  etc. 

Eye  follows  leading  line  in  a  composition. 

Assignment:  Paste  in  notebooks  clippings  of  mag- 
azines illustrating  "  significance  of  Line." 

II.  Tone:  Notan,  which  means  ^dark,  light,"  is 
the  Japanese  word  f orchis  element  o?-artr  By  Tone 
is  meant  the  amount  and  quality  of  Dark-and- 
Light  in  a  composition.  We  are  not  to  confuse  the 
term  Light-and-Shade  with  Dark-and-Light.  (Dow, 
Composition,  chap.  IX.)  Value  is  another  word  for 
Tone.  Expression  "out  of  value"  means  wrong  rela- 
tions of  tones. 


Better  Citizenship 


The  acquiring  of  beautiful  tone  relationship  is  a  mat- 
ter of  feeling  rather  than  of  rule.  The  feeling  is  de- 
veloped by  original  exercises  and  by  the  constant  use 
of  critical  judgment  with  regard  to  works  of  art.  Orig- 
inal exercises,  therefore,  important.  Necessity  also 
for  having  at  hand  examples  of  great  art  in  all  periods. 
It  is  a  scientific  fact  that  the  smallest  amount  of  dark 
in  a  light  composition  or  the  smallest  amount  of  light 
in  a  dark  composition  attracts  the  eye.  This  fact  is 
used  either  consciously  or  unconsciously  by  great  mas- 
ters to  lead  the  eye  toward  the  important  part  of  the 
design. 

Assignment:  Scale  of  values.  Clippings  for  note- 
book, examples  of  good  tone  relationship  —  some 
showing  values  closely  related;  others,  strong  contrast. 
Original  exercises  in  Dark-and-Light. 

III.  Color:  Color  has  three  attributes:  hue,  as  red 
or  blue;  value  or  notan,  as  dark  red,  light  blue,  etc.; 
intensity,  as  bright  red,  dull  blue,  etc. 

Old  theory  of  three  primary  colors.  A  good  work- 
ing theory. 

The  Munsell  theory: 


Medium 


Hue 


Value        Intensity  or  chroma 


Through  Art   Training 


Color  Combinations: 

All  in  one  hue. 

Pure  hues  nearly  related. 

Pure  hues  contrasted  in  subordinate  relation,  f 

Pure  hues  used  with  black  or  white. 

Pure  hues  used  with  neutral. 

Hues    harmonized   by   common   hue    running 
throughout. 
For  Closer  Harmonies: 

1.  Hues  of  middle  intensity  or  chroma  (so-called 
"pastel  shades"). 

2.  Hues  in  low  chroma  (comparable  in  refinement 
to  low  voice  in  speaking,  slow  dance,  etc.). 

3.  To  balance  neutralized  tints  use  small  amount 
of  brilliant  color.    Brilliant  hues  have  a  very  limited 
use.    Three  hues  suffice  for  almost  any  color  scheme. 

Dependence  of  the  three  elements  upon  each 
other:  Color  upon  Dark-and-Light,  or  Tone,  and 
Tone  again  upon  Line. 

Assignment:  If  water  colors  or  crayons  may  be 
used,  scales  of  hue,  value,  and  intensity  made  for  note- 
books. Experiment  with  complementary  and  adjacent 
hues.  Clippings  from  color  reproductions  in  magazines 
or  bits  of  textiles  pasted  in  notebooks  to  illustrate  color 
combinations  above. 

REFERENCES 

Dow.    Composition,  chap.  xiv. 
Dow.     Theory  and  Practice  of  Teaching  Art,  p.  42. 
Munsell,  Albert  H.,  A  Color  Notation.    George  H. 
Ellis  Co. 


Better  Citizenship 


(After  study  of  Line,  Dark-and-Light,  and  Color 
the  next  lecture  might  illustrate  these,  lantern  slides 
being  used.) 

STRUCTURAL   PRINCIPLES 

First  and  foremost  is  the  great  fundamental,  under- 
lying principle  of  proportion. 

Test  with  regard  to  feeling  for  good  proportion: 
Have  students  draw,  or  tear  from  paper,  what  seems 
to  each  a  well-proportioned  rectangle.  Ask  that  best 
judgment  be  used.  Now  direct  that  a  dotted  line  be 
drawn  or  the  paper  folded  through  the  middle  short- 
wise  the  rectangle,  thus: 


Ask  how  many  find  that  their  rectangle  is  equal  to 
two  squares.  Call  attention  to  the  fact  that  an  area 
equal  to  two  squares  is  a  commonplace  proportion.  If 
rectangle  is  equal  to  three  squares,  still  not  a  good  pro- 
portion, though  better  than  two. 

For  further  exercise  or  test:  Have  students  draw 
two  or  more  straight  lines,  as  for  a  border,  across  the 
two  shorter  ends,  choosing  where  they  will  place  them. 


Compare  results. 


Through  Art  Training 


Call  attention  to  the  interest  which  variety  of  spacing 
gives. 

PRINCIPLES  OF  COMPOSITION  OR  DESIGN;  OR  WAYS  OF 
CREATING  HARMONY 

/.  Symmetry:  Two  or  more  sides  alike  —  balance. 
One  of  the  most  obvious  ways  of  creating  harmony. 

Examples :   The  human  body,  furniture,  pottery,  etc. 

2.  Repetition:  Marching,  rhythm.  The  produc- 
tion of  beauty  by  using  the  same  lines,  unit,  or  motif 
over  and  over  again  in  rhythmical  order.  One  of  the 
oldest  forms  of  design  —  the  basis  of  all  music  and 
poetry. 

Examples :  Pattern  designs  on  pottery,  textiles,  etc. 
The  swastika  unit  found  in  designs  of  all  primitive 
peoples.  (This  principle  the  opposite  of  subordina- 
tion.) 

j.  Opposition:  The  meeting  of  two  lines  at  right 
or  nearly  right  angles.  A  most  severe  and  simple 
harmony.  Also  opposition  in  Tone;  in  Color. 

Examples:  Doorways,  windows,  Greek,  Egyptian, 
and  early  Renaissance  architecture. 

4.  Transition:   A  softening  of  the  severity  of  oppo- 
sition.   The  eye  is  led  less  abruptly  from  one  point  of 
composition  to  another  by  addition  of  a  third  line  or 
other  feature.    Also  transition  of  Tone;  of  Color. 

Examples:  The  capital  in  architecture,  bracket, 
drapery  in  costumes,  etc. 

5.  Subordination    (sometimes   called  Principality)  : 
A  principle  which  has  developed  with  civilization.    An 


io       Better  Citizenship    Through  Art  Training 

emphasizing  or  stressing  of  one  part  of  composition  at 
expense  of  another  in  order  to  bring  about  unity. 
There  may  be : 

1.  Subordination  to  an  axis,  as  branches  of  tree 
to  trunk. 

2.  Subordination  to  a  center,  as  rosette. 

3.  Subordination   by   size   or   interest    as   the 
predominance   of  main  entrance   of  cathe- 
dral over  side  doorways,  etc. 

Subordination  may  be  used  in  Tone  and  Color  as 
well  as  in  Line. 

Assignment:  Find  a  number  of  examples  illustrat- 
ing each  principle.  Clippings  from  magazines,  tracings, 
etc. 

REFERENCES 

Dow.     Composition,  chap.  in. 

Dow.    Theory  and  Practice  of  Teaching  Art,  p.  16. 


PART  II 

Practical  Application  of  Art  Principles 


CITY  PLANNING 

Era  of  city  is  just  beginning  —  humanity  must  solve 
the  problem  of  the  city. 


"WHAT  is  CITY  PLANNING?  City  Planning  is  the 
name  given  to  the  science  and  art  of  providing  for  the 
most  practicable  and  agreeable  development  of  a  city 
or  town.  City  Planning  would  not  usurp  the  functions 
of  existing  city  departments  or  civic  organizations,  but 
it  would  harmonize  their  conflicting  projects  and  evolve 
in  cooperation  with  them  a  comprehensive  plan  for  the 
best  economic,  social,  and  esthetic  development  of  the 
community  as  a  whole. 

"  City  Planning  would  first  investigate  all  of  the 
physical  ills  of  a  community;  it  would  diagnose  them;  it 
would  determine  all  those  matters  which  need  improve- 
ment; it  would  determine,  in  consideration  of  all  points 
of  view,  the  relative  urgency  of  the  various  needs;  it 
would  plan  in  view  of  this  a  consistent  program  of  pro- 
cedure; it  would  work  out  solutions  for  all  of  these 
problems,  keeping  a  due  relation  and  proportion  among 
them;  it  would  meet  the  peculiar  needs  of  the  com- 
munity and  preserve  the  city's  individuality;  it  would 
concentrate  on  the  various  problems  in  turn  and  get 
tangible  results. 

"  City  Planning  is  not  a  squandering  of  the  city's 
y 


14  Better  Citizenship 

money  on  vague  splendid  dreams,  but,  in  recognition 
of  the  fact  that  good  design  costs  little,  if  any,  more 
than  bad  design,  City  Planning  would  insist  on  such 
taste  and  dignity  in  the  design  of  all  that  which  affects 
the  appearance  of  the  city  that  the  citizens  would  have 
just  cause  to  glory  in  its  beauty."  —  GEORGE  B.  FORD. 

"  City  Planning — an  altruism  that  guards  the  rights 
of  the  future  as  well  as  those  of  the  present  genera- 
tion."— HENRY  C.  WRIGHT. 

"  City  Planning  is  the  application  of  wise  fore- 
thought to  the  control  of  a  city's  destiny. 

"  City  Planning  attracts  industries,  commerce,  and 
visitors;  it  produces  better  transportation  facilities,  im- 
proved hygienic  conditions,  more  adequate  and  less 
expensive  living  quarters,  and  food  supplies.  It  de- 
velops artistic  taste,  civic  pride,  and  patriotism,  it 
makes  better  citizens  and  artisans,  it  creates  health, 
comfort,  happiness;  it  helps  to  increase  the  population 
and  to  produce  industrial  prosperity.  City  Planning  is 
a  business  proposition  of  the  first  importance.  It  is 
real  civilization."  —  FRANK  KOESTER. 

"The  ideal  of  City  Planning  will  be  reached  when 
cities  are  built  upon  the  broad  basis  of  the  common 
welfare  of  the  human  race,  not  to  gratify  the  vanity 
of  autocrats,  or  to  create  wealth  and  power  for  the 
favored  few  through  the  concerted  energy  of  the  cit- 
izen masses,  but  to  gratify  the  wish  and  confirm  the 
right  of  those  citizen  masses  to  enjoy  their  just  share 
of  the  fruits  of  their  united  efforts  and  the  amenities 
that  are  the  just  reward  of  civic  and  social  duties  well 
and  faithfully  performed."  —  B.  A.  HOLDEMAN. 


Through  Art  Training  15 

"  City  Planning  would  so  model  the  setting  of  the 
life  of  the  community  with  regard  to  health,  safety, 
convenience,  and  comfort  as  to  make  it  the  ideal  place 
in  which  to  live.  Than  this  there  is  nothing  of  which 
a  city  may  be  more  proud."  —  GEORGE  B.  FORD. 

"  Until  our  streets  are  decent  and  orderly,  and  our 
town  gardens  break  the  bricks  and  mortar  every  here 
and  there,  and  are  open  to  all  people;  until  our  mead- 
ows even  near  our  towns  become  fair  and  sweet,  and 
are  unspoiled  by  patches  of  hideousness;  until  we  have 
clear  sky  above  our  heads  and  green  grass  beneath 
our  feet;  until  the  great  drama  of  the  seasons  can  touch 
our  workmen  with  other  feelings  than  the  misery  of 
winter  and  the  weariness  of  summer;  till  all  this  hap- 
pens, our  museums  and  art  schools  will  be  but  amuse- 
ments of  the  rich;  and  they  will  soon  cease  to  be  of  any 
use  to  them  also,  unless  they  make  up  their  minds  to 
give  us  back  the  fairness  of  the  Earth." — WILLIAM 
MORRIS. 

City  Planning  Means: 

1.  Conservation  of  human  energy  and  life  — 
Not  merely  SUPERFICIAL  beautification. 

2.  A  definite  plan  of  orderly  development  into  which 

each  improvement  will  fit  as  is  needed  — 
Not  the  immediate  execution  of  the  whole  plan. 

3.  Business  methods  for  city  work  — 

Not  the  surrender  of  the  city  to  artists  with  vague 
schemes  for  civic  adornment. 


1 6  Better  Citizenship 

4.  Correlation  of  city's  activities  — 

Not  wholesale  alterations  at  great  expense  with 
no  assured  financial  returns. 

5.  Encouragement  of  commerce  and  facilitation  of 

business  — 
Not  the  interruption  of  commerce  and  business. 

6.  Preservation  of  historic  buildings  with  their  as- 

sociations— 

Not  the  destruction  of  old  landmarks  and  city 
individuality. 

7.  The  development  of  an  American  city  — 
Not  the  imitation  of  London,  Paris,  Vienna. 

8.  Exercise  of  common  foresight  and  prudence  — 
Not  ruinous  expense  and  debt. 

9.  Happiness,  convenience,  health  for  all  citizens  — 
Not   expensive  boulevards   and  parks   available 

only  to  the  rich.  —  ARTHUR  C.  COMEY. 

II 

OUTLINE  FOR  STUDY 

Assignment  of  different  topics,  following  the  out- 
line as  given.  As  much  original  research  work  as  pos- 
sible to  be  done  by  student.  Papers  may  be  read  and 
general  discussion  follow.  Maps  of  different  cities 
posted  on  board  or  shown  in  lantern.  Comparison  of 
street  plans  of  different  cities.  (Traveling  exhibitions, 
accompanied  by  lectures  and  slides,  may  be  had  from 
the  American  Federation  of  Arts.) 


Through  Art  Training  17 

A.  Topics  to  be  considered:    (May  be  assigned  to  in- 
dividual students  for  further  research  work.) 

/.  Importance  of  City  Planning. 


2.  Purpose 


Consistent  development 
Municipal  economy 
Sanitation 


Esthetic  results 

3.  Site  of  a  City\Of  Primai7  importance,  but  can- 

I     not  of  itself  make  or  mar  a  city. 

4.  Plan  of  a  City: 

I  Maximum  area  for  build- 

a.  Checkerboard,          ing  s}te§ 

or  gridiron  [Simplicity  of  design 

Economy   of   communica- 

b.  Diagonal  rr.tion 

avenues  V^tas  of  beauty 

Open  squares  and  spaces 
.Beautiful  and  sanitary 

c.  Concentric          fNo  congestion 

plan  I  Convenience 

Combination  of  three  plans  best. 

5.  Civic  Center:     Plaza,   square,   common,  green, 
etc.      Railroad  station   should  be   dignified   and 
emphasized  —  streets   should   focus  to   it.     Has 
replaced  gate  of  old  feudal  walled  city. 


£8 Better  Citizenship 

B.  City  Building  in  Ancient  Times:        (Further  re- 

search work  suggested  —  notes  to  be  taken  by 
entire  class  from  findings  of  those  having  assign- 
ments.) 
/.  Sites  —  fortifications  —  plans. 

2.  Babylon:    First  city  laid  off  according  to  definite 
plans ;  Queen  Semiramis. 

3.  Athens:     Planned  by  Pericles;  Acropolis;  Phid- 
ias; Parthenon.    Civilization  never  equaled. 

4-  Rome:     In  its  early  days  squalid.     Victorious 
generals.     National  pride  born.     The   Caesars. 
First  city  to  realize  that  city  must  provide  for 
health  and  convenience  of  its  people: 
(15  B.  c.)  Population  1,630,000. 
Eight  great  spaces  set  apart  for  games. 
Eighteen  public  squares. 
Thirty  parks,  great  temples  and  their  courts. 
Baths  —  with  accommodations  for  62,800. 
(Lecture   on   "City   Planning  in  Ancient   Rome," 
illustrated  with  slides,  by  Professor  H.  R.  Fairclough 
of  Stanford  University  may  be  had  from  Art  Depart- 
ment, General  Federation  of  Women's  Clubs.) 

C.  City  Building  in  Europe :     (Assignment  as  before.) 
/.  Paris:    Best  example  of  successful  City  Planning. 

Planned  by  Louis  xiv  ( 1 700  A.  D. ) .  Later  Napo- 
leon did  much  for  city:  first  sidewalks,  street 
lights,  bridges,  etc.  Baron  Haussmann  and  what 
he  did  for  city.  Two  hundred  and  sixty-five  mil- 
lion dollars  spent  on  completing  plans  —  has  been 
good  investment. 


Through  Art  Training  19 

2.  London:  (7,000,000  population).  Suffers  for 
lack  of  City  Planning.  Contrasted  with  Paris. 
Futile  desires  of  Sir  Christopher  Wren.  London 
has  spent  millions  trying  to  undo,  and  has  pro- 
duced the  most  degraded  and  socially  dangerous 
population  on  earth.  London  Traffic  Commission 
has  recently  decided  that  two  new  streets  must  be 
cut  through  city  —  estimated  cost  $125,000,000 
for  land  damages  alone. 

j.  Germany:  Much  interested  in  City  Planning. 
Has  only  university  for  study  of  city  building. 
Many  cities  planning  for  future;  Dusseldorf 
(300,000)  has  plans  for  fifty  years  to  come:  upon 
maps  in  city  hall  future  streets,  parks,  public  build- 
ings, etc.,  can  be  located.  All  this  planning  for 
constructive  work,  however,  did  not  prevent  the 
initiation  of,  and  participation  in  the  greatest 
destructive  work  of  the  ages  in  the  late  war. 
Think  what  it  might  have  meant  to  the  world 
if  these  four  years  had  been  devoted  to  "con- 
servation of  human  energy  and  life"  and  to  "an 
altruism  that  guards  the  rights  of  the  future  as 
well  as  those  of  the  present  generation." 

D.  City  Building  in  America:      (Assignment  as  be- 
fore.    Plans  of  cities  in  book  or  pamphlet  form 
may  be  secured.     Also  guidebooks  with  maps.) 
7.  Washington:    Best-laid-out  city  in  United  States. 

Planned  by  L'Enfant. 

2.  New  York:  Gridiron  plan  —  upper  part.  Broad- 
way. 


20 Better  Citizenship 

3.  Philadelphia:    Checkerboard,  or  gridiron. 

4.  Indianapolis:    Several  diagonal  streets  focussing. 

5.  Chicago:    Has  adopted  plans  —  idea  inspired  by 
World's  Columbian  Exposition    (1893).     Plans 
completed  in  1909.     School  children  study  text- 
book, backer's  Manual  of  the  Plan  of  Chicago. 

There  are  in  the  United  States  sixty-one  cities  and 
towns  engaged  in  City  Planning.1  These  are  scattered 
throughout  the  country  and  have  in  almost  every  in- 
stance employed  experts  to  guide  them  in  their  work. 

E.  City   Keeping   as   Important   as   City   Building: 

(Assignments:    Research  work.) 

1.  City  sanitation. 

2.  Smoke  nuisance. 

3.  Overhead  wires. 

4.  Street  noises. 

5.  Unsightly  water-fronts. 

6.  Objectionable  billboards,  signs. 

7.  Parks,  playgrounds. 

F.  Our  Own  City:     (Assignments:        Original     re- 

search work.) 

1.  What  we  need. 

2.  Have  we  an  Art  Commission? 

3.  Have  we  Civic  Improvement  Clubs  in  different 

wards? 

4.  What  can  we  do  to  help  ? 

1  See  Reports  of  National  Conference  on  City  Planning  and  Bulletin 
of  New  York  Public  Library:  Selected  List  of  Works  Relating  to 
City  Planning. 


Through  Art  Training  21 

III 
FURTHER  OUTLINE  FOR  STUDY 

(Using  as  text  The  Improvement  of  Towns  and  Cities. 

by  C.  M.  Robinson.) 
Assignments  as  before. 

1.  The  Site  of  the  City. 

2.  The  Street  Plan. 

3.  Suppression  and  Repression. 

4.  Possibilities  of  Gardening. 

5.  The  Advertisement  Problem. 

6.  Architectural  Development. 

7.  Architectural  Obligations. 

8.  Popular  Education  in  Art. 

9.  Conclusions. 


IV 


OTHER  FACTORS  TO  BE  CONSIDERED  IN  STUDY 
OF  CITY  PLANNING 

1.  Circulation: 

1.  Streets. 

2.  Waterways. 

3.  Railroads. 

4.  Transit. 

5.  Substructures  and  sanitation. 

2.  Property: 

1.  Industrial. 

2.  Housing  problems. 


22 Better  Citizenship 

3.  Recreation. 

4.  Parks. 

5.  Civic  structures. 

6.  Restrictions. 

3.  Methods  of  Procedure: 

1.  Organization  and  publicity. 

2.  Controlling  bodies. 

3.  Surveys. 

4.  Recording  and  presenting  plans. 

5.  Paying  for  improvements. 


CITY  PLANNING  AN  APPLICATION  OF  ART  PRINCIPLES 

1.  Design  in  City  Planning :  Spacing,  proportion. 
Principle  of  subordination.  Civic  Center  and  lesser 
groups.  Rosette  form  of  ideal  city.  Accents  of 
interest,  such  as  schoolhouses  and  other  public  build- 
ings scattered  throughout  city.  Orderly  arrangement 
of  street  plan  and  park  system!.  Color  —  Jules 
Guerin  and  the  Panama  Pacific  Exposition. 

"Beauty  is  to  be  desired  and  sought  for  in  the  de- 
sign of  any  and  all  parts  of  the  system  of  circulation,  in 
streets,  in  railway  buildings,  in  cars,  and  the  alignment 
of  the  very  tracks  themselves,  but  not-  as  something 
to  be  applied  like  a  pink  ribbon  which  a  designer, 
insensitive  to  beauty,  may  hire  some  other  man  to 
tie  upon  his  previously  created  and  otherwise  un- 
lovely work To  obtain  the  best  results, 

regard  for  beauty  must  neither  precede  nor  follow  re- 


Through  Art   Training  23 

gard  for  the  practical  ends  to  be  obtained,  but  must 
accompany  it  step  by  step. 

"The  demands  of  beauty  are  in  large  measure  iden- 
tical with  those  of  efficiency  and  economy  and  differ 
merely  in  requiring  a  closer  approach  to  practical  per- 
fection in  the  adaptation  of  means  to  ends  than  is  re- 
quired to  meet  the  merely  economic  standard.  So  far 
as  the  demands  of  beauty  can  be  distinguished  from 
those  of  economy  the  kind  of  beauty  most  to  be  sought 
in  the  planning  of  cities  is  that  which  results  from 
seizing  instinctively,  with  a  keen  and  sensitive  apprecia- 
tion, the  limitless  opportunities  which  present  them- 
selves in  the  course  of  the  most  rigorously  practical 
solution  of  any  problem  for  a  choice  between  decisions 
of  substantially  equal  economic  merit  but  of  widely  dif- 
fering esthetic  quality."  —  FREDERICK  L.  OLMSTED. 

2.  What  is  Civic  Art? 

(Exhibit  of  civic  art,  photographs,  illustrations, 
clippings,  and  sketches,  arranged  on  mounting 
boards  and  accompanied  with  lectures  and  bibliogra- 
phy may  be  had  from  Art  Department,  General  Fed- 
eration of  Women's  Clubs.) 

"  So  long  as  art  is  regarded  as  a  trimming,  a  spe- 
cies of  crochet-work  to  be  stitched  in  ever-increasing 
quantities  to  the  garments  of  life,  it  is  vain  to  expect 
its  true  importance  to  be  recognized.  Civic  art  is  too 
often  understood  to  consist  in  filling  our  streets  with 
marble  fountains,  dotting  our  squares  with  groups  of 
statuary,  twining  our  lamp-posts  with  wriggling  acan- 


24  Better  Citizenship 

thus  leaves  or  dolphin's  tails,  and  our  buildings  with 
meaningless  bunches  of  fruit  and  flowers  tied  up  with 
impossible  stone  ribbons."  —  RAYMOND  UNWIN. 

Civic  art  is  a  matter  of  construction;  fundamental 
form;  design;  plan;  not  a  matter  of  superficial  and 
often  superfluous  adornment. 

In  this  connection,  consider  the  axiom  that  "  we  may 
decorate  construction,  but  never  construct  decoration." 

Organizations  such  as  Civic  Improvement  Clubs  are 
often  short-lived  and  seemingly  futile  because  their 
aims  are  superficial.  The  planting  of  vines  and  rose 
bushes  to  hide  unsightly  and  often  insanitary  conditions 
is  the  work  of  well-meaning  perhaps,  but  nevertheless 
misguided  enthusiasts.  "  Beauty  cannot  easily  be  en- 
grafted upon  rottenness." 

VI 

SOCIALIZING  INFLUENCE  OF  CITY  PLANNING 

By  improving  civic  conditions  we  do  not  mean  the 
advancement  of  beauty  alone;  civic  art  represents  a 
moral,  intellectual,  and  administrative  progress.  — 
JOHN  W.  WIESE. 

1.  Improved  Municipal  Housekeeping — "Municipal 
Socialism." 

a.  Control:     Sewer  system,  water  supply,  streets, 
housing  conditions,  disposal  of  garbage,   smoke 
nuisance,  general  sanitary  and  living  conditions. 

b.  Provide:     Protection  against  fire,  park  systems, 
free  school  system,  public  playgrounds,  free  libra- 


Through  Art  Training  25 

rics,  free  art  galleries  and  museums,  municipal 
theaters,  public  baths,  and  gymnasiums  —  proper 
environment  in  which  to  develop  life  and  char- 
acter. 

c.  Development  of  suburbs  through  rapid  transit, 
public  service,  and  privately  owned  cars. 

2.  Influence  of  Study  of  City  Planning  in  Schools: 

a.  Gives  intelligent  conception  of  meaning  of  City 
Planning  as  a  modern  movement. 

b.  Great  opportunities  for  correlation  with  history, 
geography,  and  the  industries.    (Investigate  work 
of  Newark,  N.  J.) 

c.  A  very  practical  reason  for  study  of  art  princi- 
ples. 

d.  Cultivation  of  civic  pride  and  responsibility: 

1.  Children  in  Chicago  schools  study  plan  of  their 
city. 

2.  "  In  New  York  City  the  time  is  fast  approach- 
ing when  the  citizens  will  be  called  upon  to  vote 
upon  matters  which  will  bear  the  name  of  City 
Planning." 

In  this  connection  it  is  most  interesting  to 
note  the  oath  taken  in  recent  years  by  grad- 
uates of  New  York  City  College.  This  oath 
(almost  verbatim  the  old  Greek  oath  taken  by 
the  ephebi  in  Athens)  is  as  follows: 

'"We,  men  of  the  class  of  19 — ,  today  re- 
ceiving the  arms  of  the  city  as  a  symbol  of  her 
faith  in  us,  take  this  oath  of  devotion  to  her: 

"  '  We  will  never  bring  disgrace  to  these  arms 


26  Better  Citizenship 

by  any  act  of  dishonesty  or  cowardice.  We 
will  never  desert  our  suffering  comrades  in  the 
ranks.  We  will  fight  for  the  ideals  and  sacred 
things  of  the  city  both  alone  and  with  many. 
We  will  revere  and  obey  the  city's  laws  and  do 
our  best  to  incite  a  like  respect  and  reverence  in 
those  about  us  who  are  prone  to  set  them  at 
naught.  We  will  strive  ever  to  do  our  whole 
duty  as  citizens,  and  thus  in  all  these  ways  to 
transmit  this  city  not  only  not  less,  but  greater, 
better,  and  more  beautiful  than  it  was  trans- 
mitted to  us.'  " 

3.  Responsibility  of  all.  "  —  'tis  we  ourselves, 
each  one  of  us,  who  must  keep  watch  and  ward 
over  the  fairness  of  the  earth,  and  each  with 
his  own  soul  and  hand  do  his  share  therein 
lest  we  deliver  to  our  sons  a  lesser  treasure 
than  our  fathers  left  to  us." — WILLIAM 
MORRIS. 

3.  Propaganda:    Publicity  methods  in  City  Planning 

campaign. 
Public  education  through : 

1.  Exhibition  and  City  Planning  conferences. 

2.  Newspaper  and  magazine  articles. 

3.  Work  of  Civic  Improvement  Clubs. 

4.  Study  in  schools.    University  courses. 

5.  Poster  contests. 

6.  Enlisting   the    aid   of   such   organizations    as 
Chamber   of   Commerce,    Rotary   Clubs,    Boy 
Scouts,  Girl  Scouts,  etc. 


Through  Art  Training  27 

REFERENCES  IN  CITY  PLANNING 

James,  H.  G.  A  Handbook  of  Civic  Improvement. 
Ch.  vni,  Social  Welfare;  Ch.  ix,  City  Planning;  Bib- 
liography on  Municipal  Functions;  Question  Sheet  on 
City  Planning.  University  of  Texas. 

James,  H.  G.  Municipal  Functions.  Ch.  vi,  Social 
Welfare;  Ch.  vil,  City  Planning.  D.  Appleton  &  Com- 
pany. 

McBain,  H.  L.  American  City  Progress  and  the 
Law.  Ch.  in,  Smoke  and  Billboards;  Ch.  IV,  City 
Planning  (zoning)  ;  Ch.  v,  City  Planning  (condemna- 
tion). Columbia  University  Press. 

Moody,  W.  D.  What  of  the  City?  Ch.  in,  What 
Is  City  Planning?  Ch.  IV,  American  Cities  —  Their 
Growth,  Needs,  and  Dangers;  Ch.  v,  How  to  Go 
About  City  Planning.  A.  C.  McClurg  &  Co. 

Nolen,  John.  Replanning  Small  Cities.  Ch.  II, 
Roanoke,  Va. ;  Ch.  m,  San  Diego,  Cal. ;  Ch.  iv,  Mont- 
clair,  N.  J.;  Ch.  vn,  Madison,  Wis.;  Ch.  vin,  Replan- 
ning Existing  Cities;  App.  Examples  City  Planning 
Legislation.  B.  W.  Huebsch. 

Robinson,  C.  M.  Modern.  Civic  Art.  Ch.  II,  What 
Civic  Art  Is;  Ch.  VI,  The  Street  Plan  of  the  Business 
District  (Sir  Christopher  Wren's  Plan);  Ch.  xm, 
Among  the  Tenements;  Ch.  xiv,  Comprehensive  Plan- 
ning; Ch.  xv,  Open  Spaces.  G.  P.  Putnam's  Sons. 

Robinson,  C.  M.  The  Improvement  of  Towns  and 
Cities.  Ch.  I,  The  Site  of  the  City;  Ch.  n,  The  Street 
Plan;  Ch.  IV,  Suppression  and  Repression;  Ch.  xi, 
Architectural  Development;  Ch.  XH,  Architectural  Ob- 


28 Better  Citizenship 

ligations;  Ch.  xiv,  Popular  Education  in  Art.  G.  P. 
Putnam's  Sons. 

Unwin,  Raymond.  Town  Planning  in  Practice.  Ch. 
I,  Of  Civic  Art  as  the  Expression  of  Civic  Life;  Ch.  n, 
Of  Individuality  of  Towns;  Ch.  in,  Of  Formal  and 
Informal  Beauty;  Ch.  IV,  Of  the  City  Survey;  Ch.  XII, 
Building  By-Laws;  Bibliography.  T.  F.  Unwin,  Lon- 
don. 

Wilcox,  D.  F.  Great  Cities  in  America.  Ch.  I, 
Introductory  (social  side).  The  Macmillan  Com- 
pany. 

Wilcox,  D.  F.  The  American  City.  Ch.  I,  Democ- 
racy and  City  Life  in  America;  Ch.  vn,  Civic  Co- 
operation; Ch.  xiv,  A  Program  of  Civic  Effort.  The 
Macmillan  Company. 

Woodruff,  C.  R.  A  New  Municipal  Program.  Ch. 
XII,  City  Planning;  Ch.  xiv,  Development  in  United 
States  Since  1900.  D.  Appleton  &  Company. 

BIBLIOGRAPHY 

Addams,  Jane.  Democracy  and  Social  Ethics.  The 
Macmillan  Company. 

Addams,  Jane.  Newer  Ideals  of  Peace.  The  Mac- 
millan Company. 

American  City,  The.  (Periodical.)  American  City 
Publishing  Co. 

"Art  and  Life  and  the  Building  and  Decorating  of 
Cities"  (Lectures  by  Arts  and  Crafts  Society.)  Riv- 
ington,  Percival  &  Co.,  London. 

"  Beautifying  the  City  and  Developing  the  People." 
The  Craftsman.  March,  1914. 


Through  Art  Training  29 

Bulletin  of  New  York  Public  Library.  Selected  List 
of  Works  Relating  to  City  Planning  and  Allied  Topics. 

Bulletin  of  New  York  School  of  Philanthropy: 
"  Social  Aspect  of  Town  Planning." 

Bulletins  of  the  Municipal  Art  Society  (New  York) 
on  "Smoke  Nuisance,"  "Billboard  Nuisance,"  "Un- 
sightly Water-fronts,"  etc. 

"  Civic  Art  and  American  Patriotism."  The  Crafts- 
man. June,  1914. 

Hamlin,  Talbot  F.  The  Enjoyment  of  Architecture, 
(chap.  ix).  Duffield  &  Company. 

Jenks,  Jeremiah  Whipple.  Citizenship  and  the 
Schools.  Henry  Holt  &  Company. 

Nolen,  John.  Comprehensive  Planning  for  Small 
Towns.  American  Unitarian  Association. 

Pamphlets  on  Folk  Dancing;  Festivals  and  Celebra- 
tions; Plays  and  Playgrounds  published  by  the  Depart- 
ment of  Child  Hygiene  of  Russell  Sage  Foundation. 

Robinson,  Charles  Mulford.  Modern  Civic  Art. 
G.  P.  Putnam's  Sons. 

Robinson,  Charles  Mulford.  The  Improvement  of 
Towns  and  Cities.  G.  P.  Putnam's  Sons. 

Reports  of  National  Conference  on  City  Planning. 

Sharp,  Cecil  J.  Morris  Dance  Tunes.  Novello  & 
Co. 

Sharp,  Cecil  J.,  and  Macilwaine,  Herbert  C.,  Mor- 
ris Book.  Novello  &  Co. 

"The  Children  and  the  City."  The  Craftsman. 
June,  1914. 

Triggs,  Harry  I.  Town  Planning:  Past,  Present, 
and  Possible.  Charles  Scribner's  Sons. 


3°  Better  Citizenship 

Assignment:     Theme  —  subject  some  phase  or  as- 
pect of  City  Planning. 

Suggested  topics : 

1.  The  Value  of  City  Planning. 

2.  The  Relation  of  City  Planning  to  Health. 

3.  The  Relation  of  City  Planning  to  Moral  Life  of 
Citizens. 

4.  Psychological  Influence. 

5.  Esthetic  Satisfaction,  etc. 


Through  Art  Training 31 


GARDEN  CITIES 

This  is  the  essence  of  the  Garden  City  movement 
—  "to  give  to  every  inhabitant  an  interest  in  his  hold- 
ings."—  ESTHER  MATSON. 

The  Garden  City  movement  originated  in  England. 
A  book  by  Ebenezer  Howard,  published  in  1898,  en- 
titled Garden  Cities  of  Tomorrow,  is  credited  with 
being  the  inspiration  of  the  movement.  In  1901,  a 
group  of  idealists  decided  to  translate  the  book  into 
reality  —  they  would  create  a  town  where  there  would 
be  "  fresh  air,  sunlight,  breathing  room,  and  playing 
room."  Thus  was  born  the  first  Garden  City,  Letch- 
worth. 

Garden  City  movement  now  enrolls  twenty  societies 
in  England  alone. 

OUTLINE  FOR  STUDY 

I.  Ideal  City  as  Planned  by  Ebenezer  Howard. 

II.  Garden  Cities  Which  Have  Materialized  in  Eng- 
land: 
/.  a.  Letchworth  e.  Bournville 

b.  Hampstead  f.  Brent  Garden  Village 

c.  Port  Sunlight          g.  II ford  Garden  Suburb 

d.  Ealing  h.  Romford 


32  Better  Citizenship 

2.  Scheme  or  plan  of  each.    "  Proof  of  what  can  be 
done  when  order  and  design  take  the  place  of 
anarchy  and  chaos." 

3.  Economic  side: 

a.  How  financed. 

b.  Contrasted  with  speculative  real  estate  schemes. 

c.  Development  of  wholly  new  areas. 

d.  Income  from  garden  plots. 

e.  Associated  ownership  —  "Collectively  earned 
increment." 

4.  Distinction   between   Garden   City   and   Garden 
Suburb. 

III.  The  Movement  in  Other  Countries: 

/.  Germany.  "  Germany  prints  a  journal  devoted 
to  the  Garden  City  cause,  and  while  fully  cog- 
nizant of  her  own  superiority  in  the  matter  of 
organization,  she  does  not  fail  to  refer  to  Eng- 
land as  the  pioneer  in  this  cause  and  to  turn  to 
Great  Britain  for  models."  —  The  Craftsman, 
January,  1913. 

2.  France. 

3.  America. 

BIBLIOGRAPHY 

"A  Plea  for  State  Garden  City."  World's  Work, 
1911. 

Abercrombie,  P.  "  Modern  Town  Planning  in  Eng- 
land." Town  Planning  Review,  Liverpool,  1910. 

Addams,  Jane.  The  Spirit  of  Youth  and  the  City 
Streets.  The  Macmillan  Company. 


Through  Art  Training  33 

"An  International  City."  The  Craftsman,  June, 
1914. 

Annual  Report  of  Garden  Cities  and  Town  Planning 
Association.  London,  1906. 

Culpin,  Ewart  G.  Garden  City  Movement  Up-to- 
Date.  Garden  Cities  and  Town  Planning  Association. 
London. 

Garden  Cities  and  Town  Planning.  (Periodical.) 
Garden  Cities  and  Town  Planning  Association.  Lon- 
don. 

"  Garden  City  Idea  the  World  Over."  The  Crafts- 
man, January,  1913. 

Harris,  George  Montagu.  The  Garden  City  Move- 
ment. (With  Preface  by  Ebenezer  Howard.)  Garden 
Cities  and  Town  Planning  Association.  London. 

Howard,  Ebenezer.  Garden  Cities  of  Tomorrow. 
Swan,  Sonnenschein  &  Co.  London,  1902. 

Mawson,  Thomas  H.  "  Garden  Suburbs."  Applied 
Science.  Toronto,  1911. 

"  Mutual  Town  Building  in  England."  World! '5 
Work.  November,  1908. 

Nichols,  J.  C.  Real  Estate  Subdivisions.  Amer- 
ican Civic  Association. 

Unwin,  Raymond.  Town  Planning:  An  Introduc- 
tion to  the  Art  of  Designing  Cities  and  Suburbs.  T.  F. 
Unwin.  London,  1919. 


34  Better  Citizenship 


LANDSCAPE  GARDENING 

Seen  through  each  arch  of  pale  green  leaves,  the  gate 
Of  Eden  swings  apart  for  Summer's  royal  state. 

— ALFRED  NOYES. 

Landscape  Gardening  is  of  two  kinds,  formal  and 
informal. 

I.  The  formal  has  several  characteristics: 

1.  It  shows  man's  mastery   over  nature  —  clipped 
hedges;  carefully  placed  shrubbery;  vistas  shown 
here  or  screened  there;  the  use  of  garden  fur- 
nishings, such  as  statuary,  marble  terraces,  per- 
golas, etc. 

2.  The  design  of  the  formal  garden  is  at  once  ap- 
parent—  is    characterized    by    unity  —  has    one 
dominant  idea :  perhaps  a  water  garden  with  foun- 
tains and  pools,  or  a  rose  garden  with  pergola  or 
summer-house  as  center  of  interest.     Its  design 
may  be  a  thing  apart  from,  and  independent  of 
any  architectural  features,  or  may  be  a  setting  for 
some  mansion. 

3.  The  formal  garden  gives  wide  scope  for  the  ex- 
pression of  individuality.    The  personality  of  the 
designer,  his  tastes  and  modes  of  thinking  are 
everywhere  evident.     The  garden  speaks  of  the 
master-mind  that  conceived  it;  but  also  of  the 


Through  Art  T rattling  35 

master-doer  who  tends,  guides,  encourages,  and 
restrains  its  growth. 

4.  The  formal  garden  must  have  an  enclosure  of 
wall  or  hedge.  There  must  always  be  a  definite 
boundary  or  outline.  This  limitation  of  a  given 
space  is  characteristic  of  all  gardens  of  this  style. 

II.  Informal  Gardens: 

1 .  Need  not  be  enclosed.    They  may  wander  on  over 
hill  and  dale  and,  as  a  rule,  cover  considerably 
more  ground. 

2.  The  design  in  this  sort  of  garden  need  not  be  at 
once  noticeable. 

3.  Are  not  an  instance  of  the  will  of  man  superim- 
posed upon  nature,  but  rather  nature  deferentially 
assisted  and  gently  led. 

4.  This  last  type  of  garden  is  much  more  restful;  is 
more  practical  and  less  expensive;  is  better  for 
the  masses. 

Of  the  two  styles  of  gardening,  the  formal  is  best 
typified  b~y  the  wonderful  Italian  gardens.  The  infor- 
mal garden  is  represented  most  satisfactorily,  perhaps, 
by  the  great  English  estates,  and  England  is  called  the 
most  beautiful  country  in  the  world  because  of  the 
number  of  these  estates  and  their  general  continuity. 

PRINCIPLES   OF   DESIGN   APPLIED  TO   LANDSCAPE 
COMPOSITION 

Attention  is  called  to  the  general  principle  of  good 
proportion  in  planning  or  spacing.  Beautiful  leading 


36  Better  Citizenship 

lines,  mass  or  tone  arrangement,  color  harmony.  Prin- 
ciples of  unity  or  subordination,  opposition,  transition, 
symmetry,  etc.,  used  how,  where,  and  why. 

OUTLINE  FOR  STUDY 

Assignment  as  before. 

I.  Quotations:    (Interesting  correlation  with  study  of 
literature) . 

1.  "I  know  a  little  garden-close 

Set  thick  with  lily  and  red  rose." 
The  Nymph's  Song  to  Hylas — WILLIAM  MORRIS. 

2.  "And  here  were  gardens  bright  with  sinuous  rills, 

Where    blossomed    many    an    incense-bearing 
tree." 

Kubla  Khan  —  COLERIDGE. 

3.  "Gardens,  where  flings  the  bridge  its  airy  span, 

And  Nature  makes  her  happy  home  with  man." 
The  Garden  of  Boccaccio  —  COLERIDGE. 

4.  "And  all  rare  blossoms  from  every  clime 

Grew  in  that  garden  in  perfect  prime." 

The  Sensitive  Plant  —  SHELLEY. 

5.  "On  the  city's  paved  street 

Plant  gardens  lined  with  lilacs  sweet; 
Let  spouting  fountains  cool  the  air, 
Singing  in  the  sun-baked  square." 

Art  —  EMERSON. 
Quotations  from  My  Garden  —  EMERSON. 

(Other  quotations  to  be  contributed  by  students.) 


Through  Art  Training 


37 


II.  Earliest 
Known 
Gardens 


Garden  of  Eden 

Hanging  Gardens  of  Babylon 

Garden  of  Gethsemane 

Garden  of  Omar  Khayyam 

Gardens  of  Greek  Philosophers 

Ancient     Roman     gardens  —  letters     of 

Cicero  and  Pliny 
Garden  of  Boccaccio 
Gardens  of  Naples  —  letters  of  Charles 

vin  of  France  (1495) 


III.  Ancient 
Roman 
Prototypes 
(extremely  formal) 
— letters  of 
Cicero  and  Pliny — 
Extensive  domains 


Terraced 

Graded 

Balustraded 

Fountains 

Edifices   for  ornament   and 

rest 
Trees,  vines,  shrubs 

clipped 


Topiary  work    • 


trees 
pruned 
hedges 


"Ancients  regarded  nature  as  servant  not  mistress, 
and  indulged  little  sentiment  for  nature  in  the  abstract." 
They  did  not  seek  to  counterfeit  meadows,  forests,  etc., 
but  each  garden  was  designed  as  decorative  setting  to 
palace  or  villa.  Symmetry,  order,  balance,  contrast 
—  evidence  of  nature  subdued  to  human  control. 


Better  Citizenship 


IV.  Gardens  of  Renaissance:  (Reconstruction  of,  or 
development  from  old  Roman  gardens)  —  ex- 
tremely formal.  Not,  however,  until  1540  did  any 
garden  receive  the  form  that  we  know  today. 

Italian  Villa  Garden:  Not  a  park  or  reserved  terri- 
tory. Designedly  an  artificial  creation,  an  artistic 
ensemble  of  which  house  and  gardens  are  distinct 
and  complementary  parts  —  the  whole  treated  as 
a  decorative  composition. 


1.  Sloping  site,   cut  into  ter- 
races, affording  varied  pros- 
pects. 

2.  Architectural  treatment  of 
conspicuous  points  and  fea- 
tures of  design. 

3.  Running  water  and  foun- 
tains on  each  level  of  gar- 
den. 

4.  Formal     arrangement    of 
flower    beds,    hedges,    and 
avenues   so   as   to   provide 
vistas  closed  by  decorative 
structures. 


Essential  Features 
of  Italian  Gardens 

(classic  treatment 
most  successful  — 
designed  by  masters) 


Typical  Italian  Gardens:    Villa  Lante  —  work  of  Vig- 
nolo;  Villa  Pia  —  in  Vatican  grounds  at  Rome,  etc. 

1.  Comprise  rectangular  area  —  from  a  few  acres  to 
ten  or  fifteen  —  on  hill  site. 

2.  Major  axis  with  slope  of  hill. 


Through  Art   Training 


39 


3.ThreeTerraces-| 


Lower  level  —  gateway,  flower  gar- 

den proper. 
Middle  level  —  house  or  casino  and 

more  important  architectural  fea- 

tares. 

Trees  : 
Third    level  —  seclud-       cypress, 

ed  retreat  —  transi-       poplar, 

tion  to  wilder  forest       and  stone 

behind. 


pne 
Fountains 


Some  Famous  Villas: 

Classic  rose  and  violet 
of 


. 
Villa  Barberm, 


The  Farnesi, 

Farnesina, 

Albani.etc. 


ex'fencc  J  to   extravagance  of 
churchly  lords 


With  the  Reformation  many  of  these  passed  into 
decay.  Those  that  remain  are  doubly  precious  — 
unique.  No  modern  imitation  can  produce  their  an- 
tique charm. 

Character:  Enough  of  architecture,  not  too  much. 
Contrasts  never  violent.  Sculptures  and  decorations 
distributed  with  rare  sense  of  propriety.  Small  gar- 
dens not  designed  like  large  ones  —  sense  of  fitness. 
Environment,  atmosphere,  associations,  art. 

As  they  appear  today:  Crumbling  stuccoes,  masonry 
stained  by  weather,  tinged  orange  and  green  by 
lichens  and  mosses,  overrun  with  ivy  and  creeping 


40  Better  Citizenship 

roses.     Atmosphere,  color,  rampant  vegetation,  si- 
lent walks,  whispering  pines,  gentle  decay. 

Paintings  of  Maxfield  Parrish: 
"Isola  Bella,  Lake  Maggiore." 
"The  Pool,  Villa  d'Este." 

V.  French  Gardens: 

1.  Character:     Influence  of  Italy — vast  levels  and 

long  vistas  of  French  gardens. 

Gardens  even  in  medieval  times. 

Finest  garden  of  Renaissance,  garden  of  Luxem- 
bourg (planned  for  Marie  de  Medici,  1615). 

2.  Lenotre   (the  dominating  personality  in  French 

gardening) ,  born  1613.  Louis  xiv  his  patron. 
Lenotre  drew  inspiration  from  the  past,  but 
was  not  a  copyist.  He  invented  nothing  new, 
but  "  ennobled  and  synthesized  the  insignificant 
and  scattered  elements  of  preceding  practice." 
Overcame  difficulties  of  foreshortening.  Ver- 
sailles, with  its  wonderful  fountains,  immense 
basins,  lofty  jets,  his  greatest  work. 

3.  Tuileries  (in  part  the  work  of  Lenotre). 

4.  Saint-Cloud. 

5.  Marvelous  forest  of  Fontainebleau. 

VI.  English  Gardens: 

A  Frenchman  has  said,  "There  is  nothing  easier 
than  to  lay  out  an  English  garden :  one  has  only  to 
make  the  gardener  drunk  and  then  follow  his 
meanderings." 


Through  Art  Training  41 

/.  Character:  Sloping  lawns  and  meandering  paths. 
"As  exponents  of  the  art  and  science  of  landscape 
gardening,  French  and  Italian  examples  are  su- 
perior to  English,  but  for  mere  lovable  beauty, 
fitting  the  needs  of  the  true  country  lover,  nothing 
can  approach  the  English  garden." 

Love  of  nature,  as  nature  —  modern  sentiment 
due  to  influence  of  poets  of  eighteenth  and  nine- 
teenth centuries.  The  English  a  sport-loving  peo- 
ple. Direct  response  to  need:  the  bowling  green, 
croquet  ground,  lawn-tennis  court,  etc.  Common 
sense  and  thrift,  also  characteristic  of  English 
people.  Therefore  their  belief  in  satisfying  need 
rather  than  supplying  luxury.  Approaches  and 
courts  —  fore-court;  kitchen-court.  Great  care 
given  English  gardens. 

The  English  longing  for  nature  unrestrained. 
In  almost  every  place  of  size  some  wilderness  — 
some  copse.  There  is  always,  however,  transition 
through  pasture  land. 

2.   Two  aims  in  laying  out  English  garden: 

a.  To  give,  by  occasional  long  vistas,  a  sense  of 
size. 

b.  To  give,  by  screened  enclosures  and  half-con- 
cealed exits,  a  sense  of  privacy.     Stimulus  to 
imagination  —  element   of   the    unexpected    in 
most  interesting  gardens. 

5.  Influence  of  Sir  Christopher  Wren  (classic  plan- 
ning) :     Introduced  formal  terrace,  walled  gar- 
dens, clipped  hedges,  architectural  accessories. 
Influence  of  Brown  —  slogan  "imitate  nature." 


Better  Citizenship 


Influence  of  Kemp  —  advocated  formal  treat- 
ment about  house,  more  natural  away  from 
house. 

4.  Famous  English  estates. 

5.  Public  parks  and  gardens. 

VII.  Japanese  Gardens: 

Japanese  gardens  are  (i)  finished,  (2)  intermedi- 
ary, or  (3)  rough.  They  may  be  flat  or  a  part  of 
a  hillside. 

Symbolic  treatment. 

Temple  gardens.    Teahouse  gardens. 

Garden  Accessories:  Stones,  bridges,  arbors,  gate- 
ways, trees,  stone  lanterns,  and  usually  three 
knolls  or  hillocks. 


Stones  - 


1.  Guardian 

2.  Worshiping 

3.  Perfect-view 

4.  Water-tray 

5.  Moon-shadow    Trees - 

6.  Cave 

7.  Seat-of-honor 

8.  Pedestal 

9.  Idle 


1.  Principal 

2.  Perfection 

3.  Tree  of  Solitude 

4.  Cascade  Circuit 

5.  Setting  Sun 

6.  Perspective 

Pine 

7.  Outstretching 

Pine 


VIII.  American  Gardens: 

1.  Colonial  gardens. 

2.  Old-fashioned  southern  gardens. 

3.  Small  home  grounds  —  rules  for  planning: 
a.  Keep  center  of  lawn  open. 


Through  Art  Training  43 

b.  Plant  in  masses. 

c.  Avoid  too  many  straight  lines. 

d.  Fill  in  angles  —  transition  of  line. 

4.  Well-known  estates. 

5.  Public    parks  —  community    gardens  —  play- 
grounds.   Democratic  conception  of  the  garden  of 
the  future,  "  For  whereas  the  gardens  of  the  past 
belonged  to  the  few,  the  gardens  of  the  future  will 
belong   to   the   many."      It   seems   that   Bacon's 
prophecy,  "  men  come  to  build  stately  sooner  than 
to  garden  finely,"  has  in  part  come  true.    But  now, 
since  man  has  solved  his  steel-construction  prob- 
lem will  he  not  turn  his  inventive  genius  to  gar- 
dening, and  the  making  perhaps  of  many  Garden 
Cities? 

BIBLIOGRAPHY 

Annual  Reports  of  Park  Commissions. 

Blanchan,  Neltje.  The  American  Flower  Garden. 
Doubleday,  Page  &  Company. 

Brown,  Glenn.  (Editor.)  European  and  Japanese 
Gardens.  The  John  C.  Winston  Company. 

Davis,  M.  M.,  Jr.  The  Exploitation  of  Pleasure. 
Russell  Sage  Foundation,  New  York. 

Elgood,  George  S.  Italian  Gardens.  Longmans, 
Green  &  Co. 

Humphreys,  Phebe  W.  The  Practical  Book  of  Gar- 
den  Architecture.  J.  B.  Lippincott  Company. 

Kellaway,  H.  J.  How  to  Lay  Out  Suburban  Home 
Grounds.  John  Wiley  &  Sons. 


44  Better  Citizenship 

Landscape  Architecture.  (Periodical.)  Lay  Hub- 
bard  &  Wheelwright,  New  York. 

Lowell,  Guy.  American  Gardens.  Bates  &  Guild 
Co. 

Mawson,  Thomas  H.  The  Art  and  Craft  of  Gar- 
den Making.  Charles  Scribner's  Sons. 

Mero,  E.  B.  American  Playgrounds.  Baker  & 
Taylor  Co. 

Osborne,  C.  F.  (Editor.)  Historic  Houses  and 
Their  Gardens.  The  John  C.  Winston  Company. 

Pamphlets  issued  by  Playground  Association  of 
America. 

Parsons,  Samuel.  Art  of  Landscape  Architecture. 
G.  P.  Putnam's  Sons. 

Robinson,  William.  The  Parks  and  Gardens  of 
Paris.  The  Macmillan  Company.  London,  1878, 

Sexby,  J.  J.  The  Municipal  Parks,  Gardens,  and 
Open  Spaces  of  London.  Charles  Scribner's  Sons. 

Shelton,  Louise.  Beautiful  Gardens  in  America. 
Charles  Scribner's  Sons. 

Tabor,  Grace.  Old  Fashioned  Gardening.  Robert 
M.  McBride  &  Co. 

Triggs,  Harry  J.  Formal  Garde.is  in  England  and 
Scotland.  Charles  Scribner's  Sons. 

Triggs,  Harry  J.  The  Art  of  Garden  Design  in 
Italy.  Longmans,  Green  &  Co. 

Wharton,  Edith.  Italian  Villas  and  Their  Gardens. 
The  Century  Co. 

Wroth,  A.  E.,  and  Warwick,  W.  The  London 
Pleasure  Gardens  of  the  Eighteenth  Century.  The 
Macmillan  Company.  London,  1896. 


Through  Art  Training  45 


ARCHITECTURE 

Architectural  styles  grow  out  of  human  needs  and 
aspirations. 

I.  Primarily:    The  character  of  architecture  due  to 

climatic  conditions : 

[Grass  huts  of  Ethiopians 

1.  In  the  Tropics  j  Tents  of  Arabs 

[Dome-crowned  buildings  of  Orient 

2.  Northern  Shores  of  [Colonnades  of  Greece 

Mediterranean      [Open  courtyards 

3.  Temperate  Zone:     Buildings  with  many  open- 

ings; doors  and  windows  to  be  opened  and 
closed  at  will. 

4.  Arctic  Region:     Igloo  or  ice  hut  of  Esquimaux. 

Only  one  opening — a  small  door. 

II.  As  Civilization  Developed:  A  tendency  to  appro- 

priate architectural  forms  or  structure  without  re- 
gard to  fitness  for  climatic  or  social  needs. 

Why  we  find  every  style  in  the  United  States. 

"Sky-scraper"  an  American  invention. 

III.  Three  Great  Principles :  Stability,  Utility,  Beauty. 
The  underlying  principle  of  all :  Perfect  adaptation 

to  limitations  and  environment. 
Our  "  Colonial  School "  an  example  of  the  frank 


46  Better  Citizenship 

acceptance  of  local  limitation.  No  architects  — 
the  result  of  the  interested  cooperation  of  those 
who  were  to  use  the  buildings  with  those  who 
were  to  construct  them.  Most  careful  attention 
given  to  proportions  and  proper  spacings  —  de- 
sign of  doors,  windows,  facades. 

OUTLINE  FOR  STUDY 

(Using  as  text  Text-book  of  the  History  of  Archi- 
tecture by  A.  D.  F.  Hamlin.) 

Assignments  as  before.    Tracings  and  clippings  for 
notebooks. 

fStyle 

1.  Introduction  to  Study  J Structural  principles 

^Historical  development 

2.  Primitive  Architecture. 

3.  Egyptian  Architecture. 

4.  Chaldaean,  Assyrian,  Persian. 

5.  Greek  Architecture. 

6.  Roman  Architecture. 

7.  Early  Christian. 

8.  Byzantine. 

9.  Early  Medieval. 

10.  Gothic. 

11.  Renaissance. 

12.  Classic  Revivals  in  Europe. 

13.  Recent  Architecture  in  Europe. 

14.  Architecture  in  United  States, 
ic.  Oriental  Architecture. 


Through  Art  Training  47 

"All  good  architecture  is  the  sincere  response  of  the 
architect  to  the  conditions  which  circumscribe  his  work, 
the  uses  to  which  his  building  is  to  be  put  and  the  cli- 
matic and  social  conditions  of  his  entourage." 

Topics  suggested  for  further  consideration: 

1.  Modern  School  Buildings  —  the  Educational  Influ- 

ence of  Environment. 

"In  the  past  twenty-five  years  the  average 
school  building  has  become  an  object  of  some  beauty 
and  interest  in  marked  contrast  to  the  earlier  build- 
ings. This  greater  attention  now  paid  to  appear- 
ances cannot  fail  to  react  favorably  upon  the  chil- 
dren, giving  them  a  more  vital  interest  in  the  appli- 
cation of  general  art  principles."  —  REPORT  OF 
COMMISSIONER  OF  EDUCATION,  1915. 

2.  Community  Use  of  Public  Buildings. 

"  The  study  of  the  civic  center  is  the  study  of  the 

spontaneous  life  of  communities What 

I  see  in  the  movement  is  a  recovery  of  the  con- 
structive and  creative  genius  of  the  American  people. 

.  .  .  And  it  seems  to  me  that  the  school- 
houses  dotted  here,  there,  everywhere,  over  the 
great  expanse  of  this  nation  will  some  day  prove  to 
be  the  roots  of  that  great  tree  of  liberty  which  shall 
spread  for  the  sustenance  and  protection  of  all  man- 
kind."— WOODROW  WILSON. 

3.  Colonial  Architecture  of  New  England. 

4.  Architecture  of  the  West. 

5.  The  Old  South  in  American  Architecture. 


48 Better  Citizenship 

6.  Building  for  the  People  or  the  Influence  of  Dem- 

ocratic Ideals. 

7.  The  Fireplace  —  the  Heart  of  the  Home. 

8.  Stairways  —  Their  Charm  of  Line  and  Element 

of  Mystery. 

9.  Doorways  —  Beautiful  and  Historic. 

10.  Modern  Architecture  for  Country  Life. 

"I  have  thought  that  a  good  test  of  civilization, 
perhaps  one  of  the  best,  is  country  life." — JOHN 
BURROUGHS. 

11.  Consider  the  axiom:  "We  may  decorate  construc- 

tion but  never  construct  decoration,"  in  its  rela- 
tion to  the  study  of  architecture. 

'"The  world  is  still  deceived  with  ornament,'  la- 
mented Shakespeare,  and  for  many  years  this  has 
been  widely  true.  But  the  deception  is  one  that  is 
being  gradually  and  steadily  discarded,  especially  in 
the  building  of  our  homes.  We  are  no  longer  sat- 
isfied with  the  kind  of  architectural  frills  that  can  be 
'nailed  on.'  Ornate  designs  and  gilded  imitations 
are  ceasing  to  attract  us." 

BIBLIOGRAPHY 

"Architectural  Beauty  in  the  Civic  Gateway  of  To- 
day." The  Craftsman,  April,  1915. 

Architectural  Record.  (Periodical.)  Architecture 
Record  Company,  New  York. 

Architecture  and  Building.  (Periodical.)  William 
T.  Comstock,  New  York, 


Through  Art  Training 49 

Art  and  Archaeology.  (Periodical.)  Archaeological 
Inititute  of  America,  Washington,  D.  C. 

Ashbee,  Charles  R.  A  Book  of  Cottages  and  Little 
Houses.  Allen  &  Unwin,  London. 

Comstock,  William  P.,  and  Shermerhorn,  C.  E. 
Bungalows,  Camps,  and  Mountain  Houses.  The  Com- 
stock Publishing  Co. 

Cousins,  Frank,  and  Riley,  Phil.  The  Wood-Carver 
of  Salem.  Little,  Brown  and  Company. 

Craftsman,  The.  (Home  Building  Number.) 
April,  1915. 

Cram,  Ralph  A.  Six  Lectures  on  Architecture. 
University  of  Chicago  Press. 

Crane,  E.  A.,  and  Soderholtz,  E.  E.  Examples  of 
Colonial  Architecture  in  South  Carolina  and  Georgia. 
Bruno  Hessling. 

Dana,  William  S.  B.  The  Swiss  Chalet  Book.  The 
Comstock  Publishing  Co. 

"Democracy's  Influence  upon  Architecture."  The 
Craftsman,  July,  1912. 

Dolman,  F.  T.,  and  Jobbins,  J.  R.  Ancient  Domes- 
tic Architecture  in  Great  Britain.  John  Lane  Com- 
pany. 

Dow,  Joy  Wheeler.  The  American  Renaissance. 
The  Comstock  Publishing  Co. 

Eberlein,  Harold  D.  The  Architecture  of  Colonial 
America.  Little,  Brown  and  Company. 

Godfrey,  W.  H.  The  English  Staircase:  An  Histor- 
ical Account.  Charles  Scribner's  Sons. 

Hamlin,  A.  D.  F.  A  History  of  Architecture.  Long- 
mans, Green  &  Co. 


50  Better  Citizenship 

Hamlin,  Talbot  F.  The  Enjoyment  of  Architec- 
ture. Duffield  &  Company. 

Kinne,  Helen,  and  Cooley,  Anna  M.  Shelter  and 
Clothing.  The  Macmillan  Company. 

Modern  School  Houses.     The  American  Architect. 

Morris,  William.  Architecture,  Industry,  and 
Wealth.  Longmans,  Green  &  Co. 

Morris,  William.  Hopes  and  Fears  for  Art.  Long- 
mans, Green  &  Co. 

"New  Architecture  of  the  West,  The."  The 
Craftsman,  May,  1916. 

Parker,  J.  H.  Some  Account  of  Domestic  Architec- 
ture in  England  from  Edward  I  to  Henry  VIII.  (3 
vols.)  Oxford  University  Press,  1853-1859. 

Price,  C.  Matlack.  The  Practical  Book  of  Archi- 
tecture. J.  B.  Lippincott  Company. 

Putnam,  J.  Pickering.  The  Open  Fire-Place  in  All 
Ages.  James  R.  Osgood  and  Company,  Boston,  1881. 

Osborne,  C.  F.  Historic  Houses  and  Their  Gar- 
dens. The  John  C.  Winston  Company. 

Reinach,  Salamon.  Apollo:  An  Illustrated  Manual 
of  the  History  of  Art  Throughout  the  Ages.  Charles 
Scribner's  Sons. 

Richards,  E.  H.  The  Cost  of  Shelter.  John  Wiley 
&  Sons. 

Rothery,  Guy  C.  Chimney  Pieces  and  Englenooks. 
Frederick  A.  Stokes  Company. 

"  School  Developed  into  a  Social  Center,  The."  The 
Craftsman,  December,  1914. 

Singleton,  Esther.  Turrets,  Towers,  and  Temples. 
Dodd,  Mead  &  Company. 


Through  Art  Training  51 

Sparrow,  Walter  S.  The  English  House:  How  to 
Judge  Its  Periods  and  Styles.  John  Lane  Company. 

"  Staircases :  Ancient,  Medieval,  and  Colonial."  The 
Craftsman,  May,  1913. 

Sturgis,  Russell,  and  Frothingham,  A.  L.  A  History 
of  Architecture.  (4  vols.)  Doubleday,  Page  &  Com- 
pany. 

Tanner,  H.  Old  English  Doorways.  Charles  Scrib- 
ner's  Sons. 

Thompson,  R.  E.  The  History  of  the  Dwelling- 
house  and  Its  Future.  J.  B.  Lippincott  Company. 

Varon,  David  J.  Indication  in  Architectural  De- 
sign. The  Comstock  Publishing  Co. 

"Value  of  the  Open  Fireplace,  The."  The  Crafts- 
man, July,  1912. 

Viollet-le-Duc,  Eugene.  The  Habitations  of  Man 
in  All  Ages.  James  R.  Osgood  &  Company,  Boston, 
1876. 

Wharton,  Edith.  Italian  Pittas  and  Their  Gardens. 
The  Century  Co. 

LITERATURE  ON  THE  HOME 

Bacon,  Francis.    Essays:    "On  Building." 

Emerson,  Ralph  Waldo.  Essays:  "Domestic 
Life." 

Field,  Eugene.     The  House. 

Hunt,  Leigh.    Essays:    "Windows." 

Lamb,  Charles.  Essays  of  Eli  a:  "  Blakesmoor  in 
H-shire." 

Ruskin,  John.    Works  on  Architecture. 


52  Better  Citizenship 

Stevenson,  Robert  Louis.    Essays:    "The  House." 
Tennyson,  Alfred.    "  The  Palace  of  Art." 
(Further  contributions  by  class.) 

Prints  of  architectural  subjects,  sculptures,  pic- 
torial art,  etc.,  may  be  secured  by  ordering  from  cat- 
alogues of  the  following: 

Architectural  Slides  (arranged  for  lectures)  —  Chi- 
cago Transparency  Co.,  143  N.  Dearborn  St.,  Chicago, 
111. 

Architectural  Post  Cards  —  Architectural  Post  Card 
Co.,  5540  Catherine  St.,  Philadelphia,  Pa. 

Aztec  Prints,  The  — The  Emery  School  Art  Co., 
70  Fifth  Ave.,  New  York  City. 

Brown's  Famous  Pictures  —  Brown  &  Co.,  Beverly, 
Mass. 

Copley  Prints,  The  —  Curtis  and  Cameron,  Boston, 
Mass. 

Cousins'  Architectural  Prints  —  Frank  Cousins  Art 
Co.,  Salem,  Mass. 

Jules  Guerin  Prints  —  University  Art  Shop,  1604 
Chicago  Ave.,  Evanston,  111. 

Medici  Prints  —  Foster  Brothers,  4  Park  Sq.,  Bos- 
ton, Mass. 

Perry  Pictures  —  Perry  Picture  Co.,  Boston,  Mass. 

Porter  Prints  —  Porter-Motter  Mfg.  Co.,  30  Shel- 
don St.,  Chicago,  111. 

Prints  —  Brown-Robertson  Company,  434  Lafayette 
St.,  New  York  City. 

Prints  and  Slides  —  Detroit  Publishing  Co.,  Detroit, 
Mich. 


Through  Art  Training  53 

University  Prints,  The — 136  Stuart  St.,  Boston, 
Mass. 

(Lantern  Slides,  Post  Cards,  Photographs  —  may  be 
obtained  from  the  Boston  Museum;  Chicago  Art  In- 
stitute; Cincinnati  Museum;  Corcoran  Gallery,  Wash- 
ington, D.  C.;  Metropolitan  Museum  of  Art,  New 
York  City;  St.  Louis  Museum.) 


54  Better  Citizens  kip 


HOUSE  DECORATION 

/  have  always  felt  that  the  best  security  for  civiliza- 
tion is  the  dwelling,  and  that  upon  properly  appointed 
and  becoming  dwellings  depends  more  than  anything 
else  the  improvement  of  mankind. —  DISRAELI. 

The  cultivation  of  good  taste  and  judgment  in  the 
matter  of  house  furnishing  is  one  of  the  most  impor- 
tant aims  of  art  education  today.  The  far-reaching 
psychological  effect  of  a  restful,  yet  cheerful,  environ- 
ment is  being  recognized  more  and  more  fully. 

Art  principles  become  more  lucid  in  the  study  of 
their  application  to  everyday  problems.  "Good  pro- 
portion," "beauty  of  line,"  "satisfactory  tone  rela- 
tionship," "color  harmony,"  are  things  that  may  be 
brought  to  mean  more  to  the  student  than  vague  terms. 
But  it  is  by  systematic  study  that  this  is  so ;  by  exercises 
designed  gradually  to  train  the  student  in  the  knowl- 
edge of  these  things. 

In  taking  up  this  outline  we  are  presupposing  that 
simple  exercises  suggested  under  the  first  chapter  on 
art  principles  have  been  given.  It  is  important  that 
such  things  as  were  learned  about  spacing,  Dark-and- 
Light,  and  color  harmony,  should  be  constantly  kept  in 
mind  when  judging  textile  designs,  when  studying  the 
proportions  of  a  piece  of  furniture,  and  when  consid- 


Through  Art  Training  55 

ering  the  general  arrangement  of  furnishings  in  a  room 
or  an  entire  house. 

The  following  are  the  topics  under  consideration: 

I.  Textiles. 

II.  Furniture. 

III.  Woodwork  and  Floors. 

IV.  Walls  and  Ceilings. 
V.  General  Arrangement. 

/ 
I 

TEXTILES 

The  more  I  work  in  the  weaving  of  tapestries  and 
fabrics,  in  the  designing  of  hangings,  in  the  combina- 
tion of  colors,  in  an  appreciation  of  the  beauty  of  the 
fabrics  made  luminous  with  light  streaming  through 
them,  or  rich  and  opaque  against  solid  backgrounds, 
the  more  I  appreciate  the  fact  that  we  have  not  com- 
menced to  apprehend  all  that  may  be  done  with  color, 
texture,  and  line,  that  the  days  are  not  long  enough  for 
the  development  of  new  beauty  for  the  furnishing  of 
our  homes.  —  ALBERT  HERTER. 

A.  Story  of  Weaving:  (Illustrated  with  photographs, 
etc.) 

Ancient:    The  craft  of  great  antiquity: 

First  step :    Probably  basket  weaving. 
Second  step :    Linen  and  woolen  thread  used. 
Third  step :    Silk,  first  used  in  China. 


56  Better  Citizenship 

1.  Egypt   (3000  B.C.) — Linen  for  religious  uses; 
wool  for  secular  uses. 

Coptic  weaving  100  A.D.  to  700  A.D. 

2.  Greek  (400  B.C.)  —  Decorations  on  vases.  Penel- 
ope at  loom,  etc. 

3.  Roman — Tapestries    imported    from    Babylon, 
Egypt,  Persia,  India. 

Medieval:     Oriental    influences    saturate   Europe    for 
one  thousand  years  (400-1400). 

1.  China,  Persia,  India,  first  countries  to  manufac- 
ture silk. 

2.  In  eighth  century  Spain  was  conquered  by  the 
Saracens;    silk    cultivation    begun.     Cotton    was 
first  cultivated  in  Europe  by  the  Moors  of  Spain 
in  the  ninth  century. 

3.  Italy  preeminent  during  the  latter  years  of  the 
Middle  Ages  and  throughout  the  Renaissance. 
Lucca,  Florence,  Genoa,  Venice  (thirteenth  cen- 
tury). 

4.  In  the  seventeenth  century  France  comes  to  the 
fore  —  Tours,  Lyons,  Paris. 

5.  In   1621   cotton  was  first  grown  in  the  United 
States. 

Modern: 

1.  Eighteenth  century — British  silk  fabrics. 

2.  Colonial  period  —  New  England  States. 

3.  Modern  Japanese  textiles. 

4.  Weavings  of  southern  mountaineers  in  the  United 
States. 

5.  Modern  decorative  fabrics.     Influence  of  Poiret, 
peasant  embroideries,  etc. 


Through  Art  Training  57 

Suggested  Topic:  The  Future  of  the  Textile  In- 
dustry in  the  United  States;  what  we  may  expect  from 
trained  designers  and  better  equipment,  or  Art  and 
Industrial  Preparedness. 

BIBLIOGRAPHY 

Dooley,  William  H.    Textiles.    D.  C.  Heath  &  Co. 

Kinne,  Helen,  and  Cooley,  Anna  M.  Shelter  and 
Clothing.  The  Macmillan  Company. 

"  More  Color  in  the  Home :  Painted  Furniture  In- 
spired by  Peasant  Art."  The  Craftsman,  June,  1915. 

"  Some  Recent  Decorative  Fabrics,"  Arts  and  Dec- 
oration, September,  1915. 

"Weaving  on  Old  Time  Looms."  The  Craftsman, 
November  and  December,  1915. 

Woolman,  Mary  S.,  and  McGowan,  Ellen  B.  Tex- 
tiles. The  Macmillan  Company. 

(Photographs  of  textiles  may  be  secured  from  The 
Metropolitan  Museum  of  Art,  New  York  City.  Trav- 
eling exhibit  from  The  Metropolitan  Museum  of  Art, 
New  York  City,  consisting  of  textiles  ranging  from  the 
fourth  to  the  eighteenth  centuries.) 

B.  Pattern  Dissection:  (Assignment:  Illustrative  ma- 
terial, clippings,  tracings,  or  samples  of  textiles  for 
notebooks. ) 


I.  Stripe:  etc. 


Better  Citizenship 


2.  Cross  lines:  |      check,     ^  diamond 
diagonal. 

3.  Spot  pattern:    (in  form  of  stripe,  check,  or  dia- 
mond). 

a.  b. 


n         mu 

4.  Triangle: 


5.  Hexagon: 


7.  Segments  of  circles  and  other  curves: 

a 


'O( 
)(  X      (  Ji  )      CD 


8.  Scale  pattern: 


(Either  the  background  space  or  the  design  should 
predominate,  giving  subordination.) 

(Symbolism  in.  pattern  design.     "A  symbol  is  the 
visible  representation  of  an  idea.") 


Through  Art  Training  59 

REFERENCES 

Day,  Lewis  F.  Pattern  Design.  Charles  Scribner's 
Sons. 

Morris,  William.  Some  Hints  on  Pattern  Design- 
ing. Longmans,  Green  &  Co. 

C.  Rugs:    (Assignment  for  notebooks,  tracings,  etc.) 
Fineness  of  rugs  measured  by  number  of  knots  to 
the  square  inch. 

/  fancy  I  should  like  to  meet 
The  men  who  prayed  there,  and  whose  feet 
Wore  this  rich  carpet,  dim  and  frayed. 
Peace  to  your  souls!   0  men  who  prayed 
In  Ispahan. 

—  ANNA  REEVE  ALDRICH. 

/.  Oriental:    Persian. 

a.  Saraband    or    Serebend.       (Palm    leaf    pattern, 
gourd,  etc.) 

b.  Senna  or  Sehna.     (Fish  motif.) 

c.  Feraghan. 

d.  Ispahan  (not  made  now),  and  others. 

Caucasian.      (Symmetrical  in  figure.) 

a.  Daghestan.     (Three  cross  shapes  through  center 
of  rug.     Close  in  value  relations.) 

b.  Kazak.     (Strong  in  Dark-and-Light.) 

c.  Mosul. 

Turkish. 

a.  Ghiordes,  Yoordes,  Yordis,  Gordis. 

b.  Kulah.     (Long  pile,  rough  weave.) 


60  Better  Citizenship 

Turkoman.     (Octagonal  figures.) 

a.  Bokhara. 

b.  Tckke  Bokhara. 

c.  Afghan. 

d.  Keva,  Khiva,  etc. 
2.  Domestic: 

CARPETS 

a.  Wilton. 

b.  Axminster. 

c.  Body  Brussels. 

d.  Ingrain. 

RUGS 

a.  French  Wilton. 

b.  Royal  Wilton. 

c.  Smyrna  (reversible). 

d.  Kilmarnoch  (made  in  U.  S.). 

e.  Donegal  (made  in  Ireland). 
Mattings,  Crex,  grass,  and  fiber  rugs. 
Rag  rugs. 

Rugs  made  from  old  carpets,  etc. 
General  rules  as  to  designs  in  rugs : 

1.  With  large  masses  close  values  should  be  used. 

2.  Beware  of  strong  contrasts  in  color  value. 

3.  Beware  of  strong  contrasts  in  color  intensity. 

4.  Brilliant  colors  should  be  used  in  small  quantities. 

REFERENCES 

Hawley,  W.  A.     Oriental  Rugs:  Antique  and  Mod- 
ern.   John  Lane  Company. 


Through  Art  Training  61 

Holt,  Rosa  Belle.  Rugs,  Oriental  and  Occidental, 
Antique  and  Modern.  A.  C.  McClurg  &  Co. 

Lewis,  G.  Griffin.  The  Mystery  of  the  Oriental 
Rug.  J.  B.  Lippincott  Company. 

Mumford,  John  Kimberly.  Oriental  Rugs.  Charles 
Scribner's  Sons. 

Ripley,  Mary  Churchill.  The  Oriental  Rug  Book. 
Frederick  S.  Stokes  Company. 

D.  Decorative  Fabrics : 

1.  Tapestries: 

a.  Their  origin  and  history 

b.  Their  uses 

c.  Some  famous  pieces 

2.  Other  Decorative  Fabrics  used  as: 

a.  Drapery,  hangings,  curtains,  etc. 

b.  Wall  covering 

c.  Upholstery 

REFERENCE 

Hunter,  George  Leland.  Tapestries:  Their  Origin, 
History  and  Renaissance.  John  Lane  Company. 

II 

FURNITURE 

"The  value  of  an  understanding  of  old  furniture 
lies  not  merely  in  sentimental  satisfaction  and  pleasing 
retrospect.  It  will  give  us  a  vigorous  commentary  on 
the  economic  history  and  social  manners  of  the  times 


62 


Better  Citizenship 


in  which  it  was  made,  if  we  care  to  take  the  pains  to 
read  a  little  between  the  lines." 

"The  historic  point  of  view  has  its  own  very  real 
and  unquestionable  value  ....  but  the  truest 
and  most  satisfactory  side  from  which  to  view  the 
whole  subject  is  its  artistic  and  decorative  value." 

"By  regarding  the  making  of  furniture  as  an  art, 
our  reverence  for  it  will  be  well  founded  and  we  shall 
be  convinced  of  the  worthiness  and  dignity  of  our 
study." 


Elizabethan 
or  Tudor 


Jacobean 
or  Stuart 


Queen  Anne  or 
Anglo-Dutch 


~  , 

George  m,  .760 


Chippendale 

JJeppelwhite 

Sheraton 

Adams 

Empire  —  George  IV,  1820 

Victorian  —  Victoria,  1837 


ENGLISH  STYLES 

Henry  vill,  1509 

Edward,  1547 

Mary,  !553 

Elizabeth,  1558 

James  i,  1 603 

Charles  i,  1625 

Commonwealth,  1649 

Charles  II,  1660 

James  II,  1685 

"William  and  Mary,  1689 

Anne,  1702 

George  I,  1714   [Colonial  or 

George  n,  1727  [     Georgian 


Colonial  or 


Through  Art  Training 


OUTLINE   FOR  STUDY 

Assignments,  tracings,  etc. 

(Using  as  text  The  Practical  Book  of  Period  Furni- 
ture, by  H.  D.  Eberlein  and  A.  McClure.) 

1.  Jacobean  Period  (1603-1688). 

2.  William  and  Mary  (1688-1702). 

3.  Queen  Anne  and  Early  Georgian  (1702-1760). 

4.  Louis  xiv  and  Louis  xv  (1643-1774). 

5.  Chippendale  (1705-1779). 

6.  The  Adam  Brothers  (1762-1792). 

7.  George  Heppelwhite  (1765-1786). 

8.  Louis  xvi  (1774-1793). 

9.  Thomas  Sheraton  (1750-1806). 

10.  The  Empire  Period  (French  and  English,  1793- 
1830). 

11.  The  American  Empire   (1795-1830). 

12.  Other  American  Furniture. 

13.  Painted  Furniture. 

AMERICAN   FURNITURE 

"The  difference  between  period  furniture  and  fur- 
niture based  entirely  upon  good  craftsmanship  is  the 
difference  between  the  need  of  the  people  and  the 
whim  of  the  aristocracy. 

"American  furniture  should  embody  the  same  prin- 
ciples that  made  the  slender  French,  painted  Russian, 
and  carved  English  work  such  perfect  creations  of 
their  kind,  namely  fitness  and  an  expression  of  the 
needs  and  ideals  of  the  people  who  made  it. 


64  Better  Citizenship 

"American  furniture  should  never  be  flamboyant, 
nor  an  imitation  of  any,  period  no  matter  how  excel- 
lent it  may  appear;  it  should  be  honestly  constructed 
and  designed  with  fine  thought  for  grace  and  beauty. 

"  Contact  with  strength  and  sturdiness  is  good  for 
a  nation,  whether  that  strength  is  in  character,  in  archi- 
tecture, or  in  furniture."  —  GUSTAV  STICKLEY. 

"  I  feel  that  the  time  has  come  when  absolute  imi- 
tation of  any  period  in  architecture,  furniture,  or  dec- 
oration is  not  greatly  valued  except  for  educational 
purposes.  We  are  becoming  more  and  more  a  devel- 
oped personality  as  a  nation,  we  are  losing  our  provin- 
ciality, we  are  ceasing  to  be  fearful  of  our  own  ex- 
pression; in  other  words,  the  American  has  developed 
an  outline." — ALBERT  HERTER. 

"It  is  pleasant  indeed  to  look  back  upon  a  fine  and 
distinguished  period  of  architecture  and  of  house  fur- 
nishing, but  it  is  pleasanter,  I  think,  to  look  back  upon 
it  than  to  live  in  it.  To  be  sure  it  is  better  to  have 
periods  of  beauty  than  periods  of  ugliness,  but  how 
much  more  interesting,  how  much  more  generous,  the 
nation's  feeling  that  demands  intelligence  and  culture 
for  all  the  people  in  order  that  all  the  people  shall 
create  about  them  beautiful  surroundings.  This  is  in 
reality  the  true  democratic  ideal." 

"  It  seems  no  longer  feasible  to  doubt  our  ability  to 
found  a  new  decorative  period — that  of  the  twentieth 
century  American!"  —  HAZEL  H,  ADLER. 


Through  Art  Training  65 

OUTLINE  FOR  STUDY 

1.  Early  American  Furniture. 

2.  Later  Furniture  (very  few  distinctive  styles). 

3.  Reaction     from    mid-Victorian    Extravagances. 
(Influence  of  William  Morris.) 

4.  Mission  Furniture  —  Joseph  P.  McHugh. 

5.  Craftsman  Furniture  —  Gustav  Stickley. 

6.  Handcraft  — L.  and  J.  G.  Stickley. 

7.  Roycroft  —  Elbert  Hubbard. 

8.  Modern  Wicker  Furniture. 

9.  Painted  Furniture:   Cosmopolitan — Inspired  by 
Art  of  European  Peasants. 

10.  The  Ethical  Influence  of  Good  Craftsmanship. 

BIBLIOGRAPHY 

"American  Style  of  Home  Furnishing."  The  Crafts- 
man, October,  1914. 

Candee,  Helen  Churchill.  Decorative  Styles  and 
Periods.  Frederick  A.  Stokes  Company. 

Clifford,  C.  R.  Period  Furnishings.  Clifford  & 
Lawton. 

Eberlein,  Harold  D.  and  McClure,  A.  The  Prac- 
tical Book  of  Period  Furniture.  J.  B.  Lippincott 
Company. 

"  Furniture  of  Our  Forefathers,  The."  The  Crafts- 
man, May,  1913. 

Hayden,  Arthur.  Chats  on  Old  Furniture.  Fred- 
erick A.  Stokes  Company. 

"Historic  Periods  in  Modern  Houses."  Arts  and 
Decoration,  September,  1915. 


66  Better  Citizenship 

"Painted  Furniture."  The  Craftsman,  September, 
1915. 

Stickley,  Gustav.  "Furniture  Based  upon  Good 
Craftsmanship."  The  Craftsman,  February,  1916. 

Ill 

WOODWORK  AND  FLOORS 

Feed  the  oak  with  oil  and  polish  it  with  wax.  —  OLD 
ENGLISH  MAXIM. 

"In  finishing  woodwork,  we  believe  —  and  Amer- 
ican architects,  decorators,  and  homemakers  are  com- 
ing to  share  our  opinion  —  that  stains  rather  than  var- 
nishes are  preferable,  soft  mellow  tones  of  brown, 
green,  and  gray  that  protect  the  surface  and  deepen 
the  color  of  the  wood  without  obscuring  its  natural 
beauty  of  grain  and  texture."  —  GUSTAV  STICKLEY. 

"To  the  Japanese,  wood,  like  anything  that  pos- 
sesses beauty,  is  almost  sacred,  and  he  handles  it  with 
a  fineness  of  feeling  that  at  best  we  reveal  when  we 
are  dealing  with  precious  marbles."  —  RALPH  CRAM. 

The  peasants  of  Europe  use  paint  most  successfully 
but  not  to  cover  up  the  grain  of  the  wood.  "  Pine  is 
the  wood  employed,  and  it  is  first  given  a  coat  of  paint 
—  usually  blue  —  which  is  wiped  off  before  it  dries. 
The  paint  sinks  into  the  pores  of  the  wood,  empha- 
sizing the  grain  and  giving  a  wonderful  satin  sheen 
to  the  surface." 


Through  Art  Training 67 

OUTLINE   FOR  STUDY 

1.  Different  Woods : 

Mahogany  —  Varies  from  hard  to  soft.  Natural 
mahogany  about  middle  value.  Imitations:  bay-wood, 
red-wood,  and  birch  (more  durable  than  soft  mahog- 
any). 

Walnut  —  Black,  Circassian. 

Oak  —  vary  hard. 

Maple  —  hard,  durable.    Curly,  Bird's-eye. 

Cherry  —  not  often  used. 

Rosewood — very  expensive. 

Ash  —  too  brittle. 

Pine  —  soft,  hard. 

Chestnut — used  for  woodwork,  not  furniture. 

Ebony  and  Teakwood — used  occasionally. 

Cypress  —  beautiful  grain. 

2.  Methods  of  Finishing: 

Stains  —  pigment  and  carrier  (linseed  oil). 

Paints  —  base,  carrier,  solvent,  pigment. 

Enamels. 

Fumed  Oak  —  (subjected  to  fumes  of  ammonia). 

3.  Woodwork  of  Rooms  Includes: 

Floor. 

Doors  and  Windows. 

Paneling. 

Molding,  baseboards,  etc. 

These  should  be  considered,  together  with  walls 
and  ceiling,  as  a  background  for  furnishings  and  there- 
fore: 


68  Better  Citizenship 

a.  Should  not  be  obtrusive  in  Line.     That  is  the 
woodwork  should  follow  the  construction  lines  of  the 
room  —  should  be  simple  and  not  ornate.     Dignity 
and  beauty  are  to  be  obtained  by  well-proportioned 
spacing  of  walls  and  windows.     Often  the  decorative 
use  of  structural  woodwork  and  trim,  together  with 
division  of  walls  into  beautiful  spaces,  leaves  very  lit- 
tle to  be  desired  in  the  way  of  "  ornament." 

b.  Should  not  be  obtrusive  in  Tone.     That  is  the 
value  of  the  woodwork  should  not  be  too  dark  or  too 
light  for  walls.     Floors,  particularly,  should  not  be 
too  light  in  value.    Woodwork  that  is  "  out  of  value  " 
jumps,  will  not  "  stay  put." 

c.  Should  not  be  obtrusive  in  Color.     "  It  naturally 
seems  best,  in  coloring  wood,  to  give  to  it  by  art  such 
colors,  on  the  whole,  as  might  have  been  given  by 
nature.     There  are  many  rich  browns,  for  instance, 
that  resemble  the  colors  in  the  bark  of  a  tree;  mellow, 
greenish  stains  suggest  the  moss-grown  trunk  and  col- 
ors of  the  foliage;  while  the  soft  shades  of  brownish 
gray  recall  the  hues  produced  by  weathering."  —  Gus- 
TAV  STICKLEY. 

d.  Woods  appropriate  for  different  rooms : 

Living-room,  Library,  Dining-room,  Halls,  etc. : 

Woods  of  pronounced  grain,  rough  texture,  as  oak, 
ash,  elm,  chestnut,  or  cypress. 

Parlors,  Bedrooms: 

Woods  of  smoother  texture,  less  denned  grain,  as 
poplar,  maple,  birch,  our  native  gum  woods,  etc. 


Through  Art  Training  69 

Kitchen,  Pantry,  Bathroom,  etc. : 

Painted  or  enameled  woodwork.  And  here  varnish 
may  be  used  because  of  its  hygienic  qualities.  Often 
the  floor  of  the  kitchen  is  covered  with  linoleum.  Com- 
position flooring. 

BIBLIOGRAPHY 

Addison,  Julia  DeWolf.  Arts  and  Crafts  in  the 
Middle  Ages.  The  Page  Company. 

"  Floors  and  Their  Treatment."  Arts  and  Decora- 
tion. October,  1915. 

Price,  C.  Matlack.  "  Historic  Association  in  Pan- 
elled Rooms."  Arts  and  Decoration,  October,  1915. 

(Samples  of  wood  may  be  secured  from  S.  C.  John- 
son and  Son,  Racine,  Wis.,  and  from  Sherwin-Wil- 
liams Co.,  Cleveland,  Ohio.) 

IV 

WALLS    AND    CEILINGS 

The  first  impression  of  a  room  depends  upon  its 
walls. 

As  has  been  said,  the  walls  and  ceiling  of  a  room 
should  be  considered  as  part  of  the  background  or 
setting  for  the  furnishings.  They  may  be,  according 
to  the  style  or  character  of  the  house,  of  rough  plas- 
ter, papered,  tinted,  painted,  calcimined,  paneled  with 
wood,  burlap,  and  other  textiles,  or  with  beaver-board, 
compo-board,  and  the  like. 


70  Better  Citizenship 

OUTLINE  FOR  STUDY 

Assignment:    Clippings,  illustrations  for  notebooks. 

Line:  The  division  of  the  wall  spaces  by  placement 
of  windows,  doors,  molding,  paneling,  etc.,  is  a  mat- 
ter of  line  composition  and  should  be  considered  most 
carefully.  A  room  whose  ceiling  is  too  high  may  be 
improved  by  lowering  molding  (principle  of  opposi- 
tion) ,  one  that  is  too  low  by  placing  molding  at  ceiling. 
Remember  that  a  rectangular  space  that  is  equal  to  two 
squares  is  a  commonplace  proportion.  Feeling  and 
judgment  are  to  be  consulted  in  choosing  a  beautiful 
proportion, 

Value:  As  to  value,  or  Dark-and-Light,  the  lighter 
the  value  of  the  ceiling  the  higher  it  will  appear,  and 
the  size  of  a  room  will  appear  larger  or  smaller  ac- 
cording to  the  value  of  its  walls  and  ceiling.  Figured 
paper  has  the  effect  of  bringing  the  walls  closer  to- 
gether, plain  paper  of  making  them  recede.  Avoid  the 
spotty  appearance  of  too  great  a  contrast  in  Dark-and- 
Light  in  figured  wall  paper. 

Color:  Value  and  color  are  so  intimately  associated 
that  while  value  may  be  considered  without  color,  color 
may  not  be  considered  apart  from  its  value.  Chroma, 
or  intensity,  is  another  attribute  of  color  that  must  be 
reckoned  with.  The  following  general  rules  relating 
to  color  schemes  for  rooms  is  offered  for  discussion : 

For  formal  room — cool  hues,  light  value. 
For  informal  room  —  warm  hues. 
Living-room  —  middle  or  low  chroma,  any  hue, 


Through  Art  Training  71 

Sleeping-room  —  light  value,  low  chroma,  not  more 
than  two  hues. 

Kitchen — light  value,  strong  chroma,  cool  hue. 

These  are  very  general  rules.  The  situation  of  a 
room,  whether  it  be  a  north  room  or  a  south  room, 
its  lighting,  etc.,  all  have  direct  influence  upon  the  hue, 
value,  and  intensity  of  color  used.  Color  will  be 
treated  more  'specifically  under  "General  Arrange- 


BIBLIOGRAPHY 

Rothery,  Guy  C.  Ceilings  and  Their  Decoration. 
Frederick  A.  Stokes  Company. 

"Walls,  Floors,  and  Woodwork  as  Harmonious 
Backgrounds."  The  Craftsman,  January,  1915. 


GENERAL  ARRANGEMENT 

Have  nothing  in  your  houses  that  you  do  not  know 
to  be  useful  or  believe  to  be  beautiful. — WILLIAM 
MORRIS. 

Perhaps  if  we  begin  with  Morris'  injunction,  the  task 
of  assembling  and  of  arranging  our  furniture  will,  in- 
deed, no  longer  be  a  task,  but  a  joy  and  privilege. 

"  In  every  homemaker  is  the  artist's  power  to  vis- 
ualize a  perfectly  appointed  home  and  the  humble 
workman's  willingness  to  patiently  work  out  the  de- 
tails that  would  be  troublesome  enough  without  love 
of  the  work.  To  select  the  proper  furniture,  draperies, 


72  Better  Citizenship 

rugs,  and  all  the  manifold  little  things  that  go  to  make 
up  a  livable,  lovable  home  involves  knowledge  of  ma- 
terial gained  only  by  study  and  experience,  a  sense  of 
fitness,  and  an  inner  feeling  for  beauty." 

OUTLINE  FOR  STUDY 

Assignment  of  papers. 

1.  The    Place    of   Period    Decoration   in   American 

Homes 

"We  have  had  period  decorations  and  all  their 
forms  of  variation  given  us  till  we  have  finally  and 
with  determination  demanded  something  distinctly  ex- 
pressive of  our  own  period,  which  is  a  fitting  setting 
and  background  for  our  own  modern,  alive  selves." 

ASCHERMANN. 

" .  .  .  .  beautiful  things  from  many  ages  can 
be  gathered  together  by  proper  selection  with  artistic 
result.  Rooms  should  not  be  historical  collections  of 
period  furniture,  for  then  they  would  be  too  formal, 
too  much  like  a  showroom  instead  of  an  inviting  place 
to  live. 

"  Certain  pieces  of  furniture  of  widely  different 
types  are  companionable  as  are  some  people  of  dia- 
metrically different  characters.  Why  not  have  our 
rooms  filled  with  furniture  of  different  types  as  we 
enjoy  having  friends  of  different  interests? 

"If  we  can  have  but  one  living-room,  why  should 
we  have  only  one  type  of  thought  in  it,  such  as  is  rep- 
resented by  a  set  of  furniture?  Variety  of  form  and 


Through  Art  Training  73 

type,  of  color  and  size,  makes  for  far  greater  grace, 
informality,  and  sense  of  comfort." 

Period  furniture  is  more  suitable  for  formal  pub- 
lic places,  such  as  clubhouses,  hotel  apartments,  etc. 
While  such  places,  since  they  are  community  homes, 
should  be  dignified,  beautiful,  and  appealing,  no  per- 
sonality is  expected  nor  desired;  an  intimate  touch  here, 
contrary  to  what  is  looked  for  in  the  real  home,  is  out 
of  place. 

2.  Selection  of  Furnishings 

By  what  net  of  selection  or  rearrangement  of  objects 
is  beauty  caught? 

a.  Many  things  to  be  considered : 

Furnishings  must  be  in  keeping  with  house  (suita- 
bility) ; 

Must  be  of  good  design  and  finish  (art  qualities)  ; 

Must  be  of  honest  craftsmanship  (sincerity) ; 

Must  be  of  lasting  worth,  not  a  fad  of  the  hour 
'(simplicity). 

Consider  the  three  S's  —  Sincerity,  Suitability,  Sim- 
plicity. 

b.  Selection  by  Elimination 

"In  place  of  the  restless  over-furnished,  over-dec- 
orated rooms  that  were  in  vogue  a  few  decades  ago, 
our  homes  are  growing  more  gracious  with  the  beauty 
of  simplicity.  Elimination,  blowing  like  a  refreshing 
breeze  through  open  doors  and  windows  is  sweeping 
away  that  which  was  needless  or  ugly,  leaving  the  use- 
ful, the  comfortable,  and  the  beautiful  behind." 

"  In  every  phase  of  life  in  America  we  are  coming 


74  Better  Citizenship 

to  recognize  the  importance  of  elimination,  and  espe- 
cially is  this  true  in  the  furnishing  and  decoration  of 
our  homes  in  what  may  be  known  as  the  American 
style." 

"  Thus  we  see  that  in  order  to  achieve  real  distinc- 
tion and  beauty  in  American  home  furnishings  we  must 
approach  the  undertaking  from  the  standpoint  of  elim- 
ination, or  judicious  selection  of  objects,  textures,  and 
color  harmonies." 

"I  have  never  been  in  any  rich  man's  house  which 
would  not  have  looked  the  better  for  having  a  bon- 
fire made  outside  of  it  of  nine-tenths  of  all  that  it 
held."— WILLIAM  MORRIS. 

c.  Japanese  Influence 

"The  Japanese  show  their  appreciation  of  a  perfect 
article  in  a  manner  that  has  much  to  recommend  it. 
They  place  but  a  single  beautiful  object  in  the  niche 
reserved  for  it.  The  objects  are  changed  to  show 
honor  to  a  guest,  upon  holidays,  with  the  changes  of 
seasons,  or  for  any  other  good  reason  that  occurs  to 
the  household. 

"  Our  tendency  is  to  crowd  our  rooms  with  as  many 
costly  things  as  we  can  get  into  them,  while  theirs  is 
to  have  as  few  as  possible  in  evidence  at  one  time. 
They  feel  that  the  full  beauty  of  an  object  can  only  be 
gained  by  giving  it  a  setting  that  in  no  way  distracts 
attention  from  it.'*  (Principle  of  subordination.) 

d.  Selection  by  Assimilation 

"There  is  a  limit  to  our  capacity  for  appropriating 
and  assimilating  material  things.  Mere  ownership 
is  not  possession.  The  only  houses  which  have  real 


Through  Art  Training  75 

meaning  and  beauty  are  the  ones  into  which  the  owner 
has  toilsomely,  yet  lovingly,  worked  a  part  of  him- 
self." 

Often  owners  of  mansions,  occupied  only  a  few 
months  "  in  the  season,"  "  are  haunted  by  the  desire 
to  own  more  things  than  their  souls  can  grasp  and 
their  personalities  can  vitalize." 

"We  should  give  more  study  to  the  matter  of 
furnishing  our  homes,  buying  a  few  things  at  a  time, 
as  we  find  articles  that  we  like,  and  thus  gradually 
build  up  our  home  as  we  build  up  our  education." 

e.  Expression  of  Personality  in  Selection 

"  More  and  more  we  are  doing  our  own  thinking  and 
planning  and  selecting,  and  expressing  our  own  indi- 
viduality in  an  environment  that  we  ourselves  help  to 


3.  Arrangement  of  Furnishings 

It  is  well  to  remember  that  in  the  beginning  of  this 
study  we  agreed  that  art  was  arrangement — arrange- 
ment of  Line,  of  Tone,  of  Color,  and  arranged  accord- 
ing to  certain  principles  of  balance,  symmetry  or  order, 
of  opposition,  transition,  repetition,  and  of  subordina- 
tion. (See  Composition,  by  A.  W.  Dow.) 

In  arranging  or  placing  furnishings  in  a  room,  we 
are  dealing  with  the  three  elements  of  art — Line, 
Tone,  and  Color,  and  we  must  dispose  of  them  accord- 
ing to  certain  laws  or  principles  if  we  expect  a  harmo- 
nious whole. 

Line.  The  structural  lines  of  the  room  must  be 
strengthened,  not  weakened,  by  the  placement  of  fur- 


76  Better  Citizenship 

niture  and  the  hangings  of  draperies,  etc.  The  vertical 
line,  we  must  remember,  is  a  line  of  dignity,  the  horizon- 
tal line,  one  of  rest.  For  grace,  and  to  avoid  stiffness 
and  formality,  the  transitional  line  may  be  used,  but 
the  oblique  line,  used  indiscriminately,  will  cause  con- 
fusion and  unrest. 

If  a  room  is  too  long  its  length  may  be  apparently 
shortened  by  using  the  principle  of  opposition  —  per- 
haps by  the  placing  of  a  rug  or  table.  Other  ways  in 
which  this  principle  may  be  used,  or  is  used,  will  occur 
to  anyone  giving  the  matter  some  thought.  An  in- 
stance of  balance  or  symmetry  is  not  hard  to  find.  It 
may  be  a  so-called  "occult  balance"  or  the  simple 
order  or  balance  secured  by  the  placing  of  two  chairs 
on  either  side  the  mantelpiece. 

The  principle  of  subordination  is  apt  to  seem,  to 
the  untrained  mind,  somewhat  elusive,  but  it  is  a  vastly 
important  principle  —  the  one  that  brings  about  unity, 
cohesion,  and  simplicity.  The  Japanese  understand 
this  principle  thoroughly.  It  is  a  matter  of  "  creating 
beauty  by  the  elimination  of  the  superfluous." 

"  Every  part  of  an  interior,  every  wall  space,  man- 
telpiece, corner,  or  grouping  of  furniture  should  be  a 
beautiful  still  life,  its  elements  so  juxtaposed  as  to  make 
in  itself  what  is  called  a  picture  —  a  paintable  thing 
just  as  it  stands,  with  lights  and  shades,  harmonies  or 
contrasts,  accented  or  plain  surfaces  as  in  a  well-com- 
posed and  balanced  canvas.  It  is  this  studying  of  the 
problem  as  an  ensemble,  this  subordination  of  detail, 
which  should  be  the  artist's  work  in  the  creation  of  any 
room,  and  it  is  in  this  most  essential  quality  that  the 


Through  Art  Training  77 

amateur  or  the  commercial  and  untrained  decorator 
makes  the  flagrant  mistake  of  assembling  objects 
which,  however  good  in  themselves,  are  unrelated." 
—  ALBERT  HERTER. 

Tone.  Under  "Walls  and  Ceilings,"  Tone,  or 
value,  was  discussed.  In  furnishings  as  well,  this  ele- 
ment is  to  be  considered.  The  principle  of  opposition 
is  used  for  the  sake  of  contrast  and  variety,  yet  a 
spotty  appearance  must  be  avoided  by  keeping  in  mind 
the  principle  of  subordination.  A  certain  amount  of 
balance  in  value  relationship  is  inevitable  in  a  beauti- 
ful tone  harmony — transition  used  also. 

Color.  The  principle  of  opposition  (the  use  of 
complementary  colors)  overcomes  the  unpleasant 
monotony  of  a  scheme  of  one  hue  or  adjacent  hues, 
but  in  order  to  gain  unity  the  principle  of  subordination 
must  come  into  play.  The  repetition,  or  echo,  of  a 
hue  in  a  room,  by  way  of  textile,  pottery,  rug,  etc.,  is 
a  necessary  means  of  distributing  color.  Transition 
applied  to  color  harmony  is  a  means  by  which  we  may 
soften  what  might  otherwise  be  too  severe  a  combina- 
tion. 

"The  obvious  consequence  of  ill-considered  com- 
binations is  a  subtle  irritation,  an  unrest,  which  carries 
its  inevitable  but  usually  unanalyzed  reaction.  For 
some  reason  the  ear  protests  against  discord  in  sound, 
while  the  eye  adjusts  itself  more  easily  to  disharmony, 
and  fails  to  recognize  what  is  subconsciously  a  factor 
of  unrest  and  nervous  strain.  .  .  .  .  We  can  be 
trained  to  formulate  our  unconscious  sensitiveness  and 
to  more  or  less  scientifically  apply  our  conscious  knowl- 


78  Better  Citizenship 

edge,  so  that  we  can  control  and  improve  our  color 
surroundings  as  we  try  to  the  noises  and  smells  that  we 
find  obnoxious."  —  ALBERT  HERTER. 

The  following  are  topics  that  should  be  considered 
in  connection  with  the  study  of  color  in  furnishings : 

a.  The  Influence  of  Peasant  Art. 

b.  The  Influence  of  L/on  Bakst. 

c.  The  Influence  of  the  Japanese  Print. 

d.  The  Influence  of  the  Oriental  Rug. 

e.  Symbolism  in  Color. 

Color  was  first  used  symbolically  in  the  hieroglyphics 
of  Egypt.  It  played  a  part  in  the  religious  rites  of  all 
primitive  peoples.  The  colors  in  an  oriental  rug  are 
symbolic. 

White  is  always  used  for  purity; 

Black  for  evil ; 

Blue  for  virtue  and  truth; 

Yellow  for  royalty  (in  China)  ; 

Green  is  regarded  as  a  holy  color  by  the  Turks; 

Red  is  symbolic  of  blood,  fire,  excitement. 

f.  The  Mental  Influence  of  Color: 

Yellow  brings  cheer  and  light  into  a  dark  room. 
"  Morbid  dispositions  require  this  color  though  they  do 
not  choose  it." 

Red  irritates  the  nerves  —  may  be  used  in  clubrooms, 
dance  halls,  etc.,  "where  gaiety  and  a  certain  amount 
of  excitement  are  desirable,  but  for  other  interiors  it 
should  be  employed  only  in  occasional  detail.  Often 
mothers  choose  red  for  the  nursery  because  the  chil- 


Through  Art  Training  79 

dren  like  it;  but  the  normal  child  is  naturally  excitable 
and  nervous,  and  does  not  need  this  rousing  note." 

Blue  is  calm,  retiring,  refreshing  in  character  —  is 
successfully  used  in  warm  climates,  in  summer  homes, 
and  sunny  south  rooms. 

Orange,  the  combination  of  yellow  and  red,  is  sym- 
bolic of  light  and  heat  which  makes  it  the  hottest  color 
possible.  Since  it  is  the  strongest  and  most  intense  of 
colors,  it  should  be  used  in  small  areas  only. 

Violet,  composed  of  red  and  blue,  suggests  heat  and 
cold  combined — which  results  in  ashes.  It  is  the  color 
of  shadows;  it  expresses  restrained  heat,  or  mystery 
and  gloom,  and  this  is  the  psychological  reason  for  its 
use  in  mourning  and  religious  rites. 

Green,  the  result  of  mixing  yellow  and  blue,  ex- 
presses light  and  coolness.  Generally  speaking  it  is 
the  most  successful  color  that  can  be  used  in  interior 
furnishing,  for  it  eliminates  the  nerve-exciting  red  and 
combines  rest  and  cheer — than  which  nothing  can  be 
better  for  a  home. 

4.  Individuality  or  Personality  in  Furnishing 

There  may  be  many  ways  of  solving  a  problem  — 
all  equally  good,  as  far  as  theory  goes.  There  may  be 
innumerable  ways,  all  admirable,  in  which  harmony 
may  be  brought  about  in  house  decoration. 

The  choice  of  the  way  indicates  the  individuality  of 
the  decorator.  However,  we  should  not  expect  the 
professional  decorator  to  be  able  to  put  himself — 
that  is,  to  make  a  choice  that  is  expressive  of  his  per- 
sonality—  into  the  decoration  of  other  peoples'  homes, 


8o  _        Better  Citizenship 

That  is  asking  too  much;  in  fact,  the  impossible.  He 
will  follow  the  rules  of  the  game  but  the  result  is  apt 
to  be  an  interior  that  is  "too  perfect,  with  an  unpleas- 
ant air  of  aloof  superiority,  an  unlovable  trait  in  rooms 
as  well  as  in  people." 

No,  we  may  not  shift  the  responsibility  for  the  dec- 
oration of  our  homes  on  to  other  peoples'  shoulders. 
It  is  a  matter  of  training  and  education  in  which  we 
all  should  participate.  It  is  this  sort  of  education  that 
we  want  in  our  schools,  the  sort  that  shall  "help  the 
men  and  women  of  America  to  achieve  not  mere  houses 
or  mansions,  but  real  homes." 

".  here  in  America  we  have  newly  awak- 

ened to  a  realization  that  all  homes  should  be  well 
built,  beautiful  in  architecture,  that  all  these  well-built 
homes  should  possess  lovely  gardens  made  fair  by  the 
hand  of  the  mistress,  that  the  inside  of  the  home  should 
express  the  personality  of  the  woman  who  lives  in  it, 
who  is  the  spirit  of  it.  In  order  to  accomplish  all  these 
delightful  things  it  is  necessary  that  American  women 
should  really  learn  to  understand  gardening  and  should 
elect  in  many  instances,  more  than  we  can  compute,  to 
become  the  decorators  of  their  own  houses." 

BIBLIOGRAPHY 

Adler,  Hazel  H.  The  New  Interior.  The  Cen- 
tury Co. 

"Color  in   Decoration."      The   Craftsman,    May, 


"Color,   the   Magic  Spirit  in   the   Home."      The 
Craftsman,  January,  1915. 


Through  Art  Training  81 

"Ethics  of  Home  Furnishing,  The."  The  Crafts- 
man, January,  1916. 

Herter,  Albert.  "The  Value  of  Clean  Color  in 
Decoration."  The  Craftsman,  May,  1916. 

Holme,  Charles.  Peasant  Art  in  Sweden,  Iceland, 
and  Lapland.  John  Lane  Company. 

Holme,  Charles.  (Editor.)  The  Studio  Year  Books 
of  Decorative  Art.  (6  vols.)  John  Lane  Com- 
pany. 

"  Japanese  Print  as  a  Reformer,  The."  The  Crafts- 
man, May,  1916. 

"  Modern  Furniture  Reproduced  from  the  Antique." 
The  Craftsman,  May,  1913. 

"  More  Color  in  the  Home :  Painted  Furniture  In- 
spired by  Peasant  Art."  The  Craftsman,  June,  1915. 

Parsons,  Frank  Alvah.  Interior  Decoration.  Dou- 
bleday,  Page  &  Company. 

n'  Personality  in  Furniture."  Arts  and  Decoration, 
April,  1917. 

"  Rooms  that  Satisfy."  Good  Housekeeping,  Octo- 
ber, 1914. 

Wood,  Grace,  and  Burbank,  Emily.  The  Art  of  In- 
terior Decoration.  Dodd,  Mead  &  Company. 


82  Better  Citizenship 


WILLIAM  MORRIS 

"  Even  if  Morris'  writings  were  but  half  as  beauti- 
ful as  they  are,  he  would  still  have  touched  eminence 
in  his  day  and  generation,  for  his  apparently  exhaust- 
less  energy,  his  diversified  interests,  his  untiring  occu- 
pation, his  command  over  so  many  mediums  of  literary 
expression,  his  wide  scope  of  handicraft  achievements, 
would  have  left  their  impress  upon  the  taste  and  opin- 
ion of  his  time  and  country." 

Any  study  of  the  principles  of  good  taste  and  of  art 
applied  to  daily  living  would  be  incomplete  without  an 
acknowledgment  of  the  influence  of  William  Morris, 
and  a  consideration  of  those  ideals  for  which  Morris 
lived  his  life. 

In  the  books  of  almost  every  writer  on  interior  dec- 
oration and  kindred  subjects,  in  the  writings  of  almost 
every  social  reformer,  we  see  his  words  quoted.  It  is 
patent  that  certain  of  our  American  craftsmen  are  fol- 
lowing in  his  footsteps,  and  that  students  and  teachers 
of  the  arts  in  general  find  great  inspiration  in  his  life. 

"His  medievalism  was  in  the  spirit  more  than  in  the 
letter,  and  he  opened  up  a  vast  field  for  activity  in  all 
branches  of  the  arts  and  crafts.  In  doing  this  he  did 
a  noble  work,  and  a  work  that  will  continue  to  de- 
velop through  many  arts-and-crafts  societies.  Through 
his  connection  with  art  workers  and  art  problems  he 


Through  Art  Training  83 

came  to  his  position  of  a  socialist,  through  art  and 
its  needs,  not  through  the  usual  channels  of  political 
economy  and  kindred  lines." 

Did  not  Morris  have  the  same  purpose  in  studying 
medieval  life  that  the  Renaissance  leaders  of  thought 
had  in  studying  the  lives  of  the  ancients?  The  Re- 
naissance idea  was  to  "study  the  grammar,  in  order 
to  learn  the  language,  to  get  the  life,  to  live  the  ideals 
of  the  Athenians."  Was  there  not  something  of  this 
sort  in  Morris'  passion  for  medievalism? 

OUTLINE   FOR  STUDY    (QUESTIONNAIRE) 

Assignment  of  paper  on  "  Ideals  of  William  Mor- 
ris." 

1.  What  were  the   conditions  of  art  and  society 
which  Morris  found  unsatisfactory? 

2.  Why  were  conditions  so  ? 

3.  What  had  art  to  do  with  society,  or  society  with 
art? 

4.  What  led  Morris  to  become  a  socialist? 

5.  What  remedies  did  Morris  propose? 

6.  Morris  and  Company. 

Consider  in  connection  with  the  study  of  Morris: 

i.  The  relation  between  industry  and  art. 

"Life  without  labor  is  guilt,  and  industry  without 
art  is  brutality." 

"To  give  people  pleasure  in  the  things  they  must 
perforce  use,  that  is  the  one  great  office  of  decoration ; 


84  Better  Citizenship 

to  give  people  pleasure  in  the  things  they  must  perforce 
make,  that  is  the  other  use  of  it." 

2.  What  should  be  the  spirit  of  the  true  craftsman? 
"Als  ik  Kan." 

"  The  lyf  so  short  the  craft  so  long  to  lerne." 
"That  thing  which  I  understand  by  real  art  is  the 
expression  by  man  of  his  pleasure  in  labor."  —  WIL- 
LIAM MORRIS. 

"  The  hand  can  execute  nothing  higher  than  the  char- 
acter can  inspire." 

3.  What  responsibility  have  we  as  individuals  in 
helping  to  cultivate  good  taste  and  judgment? 

a.  As  consumers  —  purchasers. 

b.  As  producers  —  creators,  makers,  doers. 

Awful  is  Art  because  'tis  free. 
The  artist  trembles  o'er  his  plan 
Where  men  his  Self  must  see. 
Who  made  a  song  or  picture,  he 
Did  it,  and  not  another,  God  nor  man. 

—  SIDNEY  LANIER. 

"What  does  all  this  art  movement  mean  to  Amer- 
ica? It  means  that  William  Morris  alone  descended 
from  the  clouds  of  romanticism  to  put  into  practical, 
utilitarian  form  the  charms  and  value  of  Beauty.  This 
was  work  enough  for  one  man  to  have  done.  We 
must  see  that  he  did  not  live  in  vain.  Let  us  gird  on 
the  armor  and  attack  the  thousand-headed  monster  of 
Ugliness  that  crowds  us  at  every  turn.  If  we  cannot 
all  of  us  be  William  Morrises,  let  us  be  his  disciples 


Through  Art  Training  85 

for  better  taste,  fight  ugliness  with  beauty,  and  thus 
reap  a  share  of  the  reward  that  was  so  sweet  to  him." 

4.  Is  the  understanding  then  of  this  whole  subject 
a  matter  of  education?     And  that  brings  us  to  the 
question,  what  is  an  education?    A  matter  of  tabulated 
knowledge,  useful  information,  perhaps.    Or  shall  we 
say  rather  a  matter  of  right  attitudes,  a  sense  of  values, 
a  matter  of  seeing  things  in  their  true  proportions? 

5.  What  sort  of  an  art  education  do  we  want? 

A  study  of  art  principles  so  that  there  may  be  true 
appreciation  on  the  part  of  many.  In  that  sense  Mor- 
ris says :  "  I  do  not  want  art  for  a  few  any  more  than 
education  for  a  few  or  freedom  for  a  few."  He  speaks 
also  of  "  a  new  art,  a  glorious  art,  made  by  the  people 
and  for  the  people  as  a  happiness  to  the  maker  and 
user." 

6.  Art  and  "Industrial  Preparedness." 

(See  address,  "Economic  Importance  of  Industrial 
Art,"  by  James  P.  Haney.) 

BIBLIOGRAPHY 

Brock,  A.  Glutton.  William  Morris:  His  Work  and 
Influence.  Henry  Holt  and  Company. 

Gary,  E.  L.    William  Morris.    G.  P.  Putnam's  Sons. 

Eliot,  Charles  W.  Changes  Needed  in  American 
Secondary  Education.  (Pamphlet  published  by  Gen- 
eral Education  Board.) 

Mackail,  J.  W.  William  Morris:  An  Address. 
Longmans,  Green  &  Co. 

Morris,  William.  Architecture,  Industry  and  Wealth. 
Longmans,  Green  &  Co. 


86_ Better  Citizenship 

Morris,  William.  Collected  Works,  with  introduc- 
tion by  his  daughter,  May  Morris.  (24  vols.)  Long- 
mans, Green  &  Co. 

Morris,  William.  Hopes  and  Fears  for  Art.  Long- 
mans, Green  &  Co. 

Morris,  William.  Signs  of  Change,  Longmans, 
Green  &  Co. 

Russel-Bonser.  Industrial  Education.  (Bulletin 
published  by  Teachers  College,  Columbia  University.) 


Through  Art   Training  87 


COSTUME  DESIGN 

The  study  of  art  principles  as  applied  to  dress  may 
not  begin  too  early.  Even  in  elementary  schools  the 
subject  is  taught  most  successfully,  with  the  result  that 
there  is  great  improvement  in  the  choice  and  judgment 
displayed  by  the  children  in  matters  of  dress. 

In  high  schools  and  colleges  the  study  of  costume 
design,  in  all  its  phases,  should  receive  serious  atten- 
tion. Gustav  Stickley  says:  "  I  myself  have  for  years 
felt  that  dress  was  one  of  the  significant  issues  of  the 
day,  that  our  social  and  political  conditions  were  ex- 
pressed in  it,  or  hampered  by  it."  He  asks:  "What 
does  the  dress  of  our  women  as  it  stands  today  cost 
us  materially  and  spiritually?  Where  do  we  find  the 
salvation  for  this  condition?  Must  our  women  create 
the  reform  themselves?  Is  it  a  matter  of  education? 
Can  we  hope  for  better  things  from  the  present  gen- 
eration or  must  it  lie  wholly  in  the  training  of  our  chil- 
dren?" 

To  answer  these  questions  intelligently  requires  in- 
terest, thought,  and  a  certain  amount  of  research  work 
on  the  part  of  the  student.  The  following  outline  is 
offered: 

I.  History  of  Costume. 
II.  The  Esthetic  Study  of  the  Person. 
III.  Dress  from  the  Standpoint  of  Design. 


Better  Citizenship 


IV.  Selection  of  Clothing  from  the  Standpoint  of: 

1.  Hygiene. 

2.  Economic  and  Sociological  Responsibility. 

3.  Ethics. 

I.    HISTORY   OF    COSTUME 

Assignment  of  tracings  of  costumes. 

The  world,  if  we  choose  to  see  it  so,  is  a  compli- 
cated picture  of  people  dressing  and  undressing.  —  D. 
C.  CALTHROP. 

1.  Purpose  of  study: 

a.  Recognition  in  modern  dress  of  styles  or  periods 
from  which  they  are  derived. 

b.  Study  of  principles  underlying  the  good  in  all  pe- 
riods so  that  they  may  be  applied  to  improvement 
of  modern  dress. 

2.  Origin  of  our  knowledge  concerning  early  costume : 

a.  Ancient  hieroglyphics. 

b.  Sculpture. 

c.  Early  paintings. 

d.  Illuminations. 

Egyptian  Costume: 

Simple  in  construction,  good  in  ornamentation,  in- 
cluding color. 

The  use  of  symbols  such  as  the  lotus,  asp,  etc. 

The  beginning  of  drapery. 

Greek  Costume: 

i.  Early  costume,  tight  waists,  and  full  skirts. 


Through  Art  Training  89 

2.  "Greek  dress,"  full  of  charm,  simplicity  of  line. 
Men  and  women  dressed  almost  alike.     Women 
added  veils,  ornaments  for  the  hair,  etc. 

3.  Regulation  dress  —  two  garments  in  the  costume. 

a.  Chiton,  or  dress. 

b.  Himation,  or  mantle. 

Doric  chiton  —  simple,  heavy  material. 

Ionic  chiton  —  more  elaborate,  thin  material,  folds. 

General  shape  rectangular — a  foot  longer  than  the 
person  and  as  wide  as  arms  outstretched.  Draped 
about  the  body. 

Roman  Costume: 

Adapted  from  the  Greeks. 

Tunic  —  undergarment  1 

Toga  —  outergarment 

Stola  —  long  tunic  with  border] 

Palla  — mantle  j-Women 

Roman  costume  fuller  than  the  Greeks  and  more  or- 
namented. 

Early  Gauls: 

Painted  and  tattooed  bodies. 

Skins  of  Animals.     Hip  aprons.     Barbaric  jewelry. 

After  the  Roman  Conquest,  the  tunic,  mantle,  etc.,  of 
the  conquerors  were  worn.  (Caesar  conquered  Gaul 
55  B.C.)  Later,  in  the  fifth  century,  after  the  estab- 
lishment of  the  French  kingdom,  a  combination  of 
Roman,  Gallic,  and  Prankish  costume  was  worn. 


90 Better  Citizenship 

French  Costume: 

The  eighth  century  the  beginning  of  French  dress. 

Women  wore  two  tunics  —  under  one  long,  straight, 
and  narrow ;  outer  one  short  and  full. 

In  the  eleventh  century,  silks,  cashmeres,  etc.,  were 
introduced  by  returning  crusaders.  Buttons  appeared 
for  the  first  time. 

The  fourteenth  century  was  a  period  of  luxury.  This 
century  is  noted  for  its  eccentricities  of  dress.  Pointed 
shoes,  high  pointed  headdress  harmonized  with  the 
turrets,  pointed  arches,  etc.,  of  Gothic  architecture. 

In  the  fifteenth  century,  reign  of  Louis  XI,  dress  was 
more  simple.  The  latter  part  of  the  fifteenth  century 
French  costume  was  characterized  by  rich  materials, 
bright  colors,  but  greater  dignity  and  grace  of  line. 

In  the  sixteenth  century,  Renaissance,  there  were 
great  changes  in  dress.  Introduction  of  crinoline, 
hoops  and  corsets  for  women;  bodice  with  pointed 
waistline,  front  panel,  and  over  this  a  robe  which  fell 
to  the  floor  in  great  tubelike  folds.  Garments  for  both 
men  and  women  were  much  slashed.  In  the  reign  of 
Henry  ill  many  men  adopted  feminine  fashions,  wear- 
ing enormous  ruffs  and  tight  corsets. 

In  the  reign  of  Henry  IV  the  hoop  skirt  became 
barrel  shaped  and  so  large  that  the  arms  rested  upon  it. 
Waists  were  smaller,  more  pointed,  padded,  and  puffed. 
Sleeves  had  very  large  ruffs.  The  corset  had  become 
a  true  instrument  of  torture;  the  whole  costume  a 
ridiculous  silhouette. 

Louis  xni  —  hoops  and  padding  discarded,  lines  be- 
came more  graceful. 


Through  Art  Training  91 

Louis  XIV  —  again  the  pointed  waistline,  very  low 
necks,  no  hoops,  but  stiff  materials  with  much  fullness. 
Introduction  of  the  bustle.  Enormous  headdresses 
sometimes  two  feet  high. 

Eighteenth  century — charming  WatKau  costumes, 
characterized  by  grace  —  influence  of  Marie  Antoinette 
—  enormous  headdress,  hoops,  profusion  of  laces,  rib- 
bons, puffings,  "pannier." 

During  Revolution,  at  first  styles  and  materials  were 
simpler.  Later,  with  the  Directolre,  Greek  and  Ro- 
man costumes  were  copied  but  in  an  exaggerated  way. 
The  men  copied  English  fashions. 

Costumes,  at  the  time  of  Napoleon,  which  we  now 
call  Empire,  were  revivals  of  Greek  fashions.  Dresses 
had  short  waists,  long  skirts,  low  necks  and  short,  puffy 
sleeves.  Shawls  were  used. 

Period  1815-1830,  the  Restoration  —  fashions  were 
very  ugly;  bad  proportions  in  everything. 

In  1850  —  luxury  and  extravagance. 

In  1854 — hoops  returned  and  polonaise  was  intro- 
duced with  triple  flounces  on  skirts.  Until  1870  the 
most  fantastic  costumes  for  women  were  worn.  After 
that  time  skirts  became  smaller,  hoops  disappeared,  and 
lines  of  gowns  were  more  dignified.  Exaggeration  and 
vulgarity  were  no  longer  prevalent.  In  1880  dress 
was  more  simple.  Gloves  adopted  generally  at  this 
time.  1880-1900  —  development  of  better  taste.  Bus- 
tles and  pads  were  worn  for  a  time.  "  Leg-o'-mutton  " 
sleeves  and  other  idiosyncrasies.  Since  then  there  have 
been  many  changes  but  the  novelties  have  not  lasted 
long. 


Better  Citizenship 


"  More  intelligence  and  thought  have  been  given 
in  the  adaptation  of  the  best  of  the  costumes  of  the 
past  to  the  needs  of  today." 

Regular  fashion  sheets  have  been  in  vogue  only  since 
the  French  Revolution. 

OUTLINE  FOR  STUDY 

(Using  as  text  History  of  English  Costume  by  D. 
C.  Calthrop.) 

As  an  interesting  climax  to  the  study  of  the  history 
of  costume,  an  evening  of  Tableaux  Vvuants  might  be 
given,  tracing  the  evolution  of  dress,  in  chronological 
order,  from  early  times  down  to  the  present. 

Chap.  I  —  William  I. 

Chap.  II  —  William  n. 

Chap.  Ill  —  Henry  i. 

Chap.  IV  —  Stephen  —  and  so  on  through  contents 
of  book. 

The  different  chapters  may  be  assigned  to  different 
students  who  may  report  their  findings  for  the  benefit 
of  others  in  the  class.  All  should  make  tracings  for 
their  notebooks  of  the  important  periods. 

"The  tendencies  of  other  generations  can  be  studied 
in  dress  as  well  as  in  architecture  and  language." 

II.    THE  ESTHETIC  STUDY  OF  THE  PERSON 

Esthetics  —  theory  of  good  taste  —  the  science  of 
the  beautiful  in  nature  and  art. 

Dress  should  be  subordinate  to  the  wearer;  should 


Through  Art   Training  93 

be  persuasive  not  self-assertive;  should  emphasize  the 
personality  of  the  wearer. 

1.  In  taking  up  the  study  of  dress  from  this  stand- 
point there  are  many  things  to  consider: 

a.  Care  of  the  person  —  cleanliness,  etc. 

b.  Arrangement  of  the  hair. 

c.  Proper  dress  —  as  to  outergarments  and  under- 
garments. 

d.  Shoes,  gloves,  hats. 

e.  Accessories  —  jewelry,  bags,  scarfs,  parasols,  etc. 

2.  Suitability,   Sincerity,   Simplicity — three   watch- 
words. 

"Simplicity  is  not  plainness,  nor  stupidity,  but  the 
intelligent  omission  of  the  superfluous." 

Considering  these  we  find  selection  based  upon : 

a.  Time  of  year  g.  Hygienic  laws 

b.  Time  of  day  h.  Means  or  wealth 

c.  The  occasion  i.  Use  of  garment — 

d.  Style  of  figure  does  it  answer  the  pur- 

e.  Coloring  pose  for  which  it  was 

f.  Age  of  wearer  designed? 

Any  violation  of  the  law  of  Suitability  or  Appropri- 
ateness brings  the  transgressor  face  to  face  with  Con- 
spicuousness,  than  which  there  is  no  deadlier  sin  against 
good  taste. 


94 Better  Citizenship 

III.    DRESS  FROM  THE  STANDPOINT  OF  DESIGN 

Decoration  is  the  most  powerful  and  controlling  fac- 
tor in  the  selection  of  body  covering. 

Design  or  Art  in  dress  is  a  matter  of  Line,  Tone,  and 
Color  arrangement.  These  three  elements  may  be  so 
used  and  manipulated  as  to  conceal  or  exaggerate 
faults,  a  sort  of  art  jugglery,  or  they  may  be  used  to 
enhance  nature's  most  wonderful  handiwork. 

OUTLINE  FOR  STUDY 

Assignment:  Clippings  from  fashion  sheets,  illus- 
trating each  principle  under  each  element,  mounted  and 
brought  in  for  class  criticism.  Clippings  or  tracings 
also  for  notebooks. 

LINE 

Line  in  dress  design  takes  into  account  the  silhouette 
of  figure,  or  boundary  of  space;  and  also  the  breaking 
up  of  the  space,  as  in  other  designs,  by  other  lines: 
construction  lines  and  lines  of  trimming  or  decora- 
tion. Here  again  we  must  remember  that  we  may 
"decorate  construction,  but  never  construct  decora- 
tion." And  again  we  must  remember  the  significance 
of  the  various  kinds  of  lines,  the  vertical,  oblique,  etc. 
Do  we  wish  to  express  dignity  in  our  dress?  Are  we 
willing  that  our  appearance  should  give  the  feeling  of 
unrest  —  a  subtle  annoyance? 


Through  Art  Training 


Consider  the  following  principles  in  connection  with 
Line  —  when  they  may  be  used  to  advantage  and  how: 

Opposition  —  as  use  of  horizontal  lines  to  oppose 
length  of  tall  person. 

Transition  —  used  where  too  much  opposition  would 
be  severe,  as  "V"  neck  instead  of  sauare  neck,  long 
transitional  lines  in  drapery,  etc. 

Repetition  —  as  motifs  in  bands  of  trimming,  etc. 
Too  many  lines  of  opposition,  as  many  tucks  from 
waist  to  hem  of  skirt,  produce  repetition  rather  than 
opposition  and  add  to  apparent  height  of  figure. 

Symmetry,  or  balance  —  either  obvious  or  occult  as 
the  placing  of  an  ornament  on  the  uptilted  side  of 
hat,  etc. 

Subordination  —  the  bringing  about  of  unity  in  a  cos- 
tume by  centering  the  interest,  usually  near  the  face; 
by  considering  all  parts  of  the  costume  in  relation  to 
the  whole. 

"  The  subordinate  relation  of  the  costume  to  the 
wearer  and  the  unity  of  the  whole  is  a  result  of  the 
study  of  art  principles;  for  dress  design  is  first  of  all 
an  art  oroblem." 

TONE 

(Make  tracings  of  costumes,  changing  Dark-and- 
Light  schemes.) 

As  in  Line,  the  principles  of  opposition  (contrast), 
of  repetition  (echo),  of  transition  (gradation),  of 
symmetry  (balance),  of  subordination  (unity),  come 
into  play. 


g6 Better  Citizenship 

Discuss  these  and  illustrate  each  principle  with  find- 
ings from  fashion  sheets,  as  Vogue,  Vanity  Fair, 
Harper's  Bazar,  etc. 

COLOR 

Opposition  in  color  means  the  use  of  complementary 
hues,  and  this  use  must  be  in  subordinate  relation  as 
explained  in  the  first  section  under  "  General  Art  Prin- 
ciples." The  other  principles  of  repetition,  transition, 
symmetry,  and  subordination  applied  to  color  arrange- 
ment may  be  studied  and  color  theory  reviewed. 

To  illustrate  color  harmony  in  dress  design  by  use 
of  clippings  from  fashion  sheets  may  perhaps  be  diffi- 
cult. A  most  satisfactory  way  out  of  the  difficulty  is 
to  have  students  bring  a  number  of  costumes  to  class. 
A  frank  criticism  of  these  on  the  part  of  the  teacher 
or  leader  of  group  and  students  will  bring  out  many  in- 
teresting points. 

In  connection  with  the  study  of  color  harmony  in 
dress,  the  coloring  of  the  wearer  must  be  considered ; 
and  the  general  becomingness  of  the  gown  not  only 
from  point  of  color,  but  also  from  suitability  of  line 
and  beauty  of  tone. 

Several  types,  a  blonde,  a  brunette,  a  person  with 
auburn  hair  or  red  hair,  might  pose  before  the  class  in 
costumes  of  different  colors,  etc.  This  practical  demon- 
stration can  be  made  of  great  value  if  serious  thought 
is  given  to  the  selection  of  costumes  to  be  shown,  and 
the  principles  underlying  each  are  brought  to  the  atten- 
tion of  the  class. 


Through  Art  Training  97 

IV.    SELECTION  OF   CLOTHING   FROM  THE  STAND- 
POINT OF : 

1.  Hygiene. 

2.  Economic  and  Sociological  Responsibility. 

3.  Ethics. 

i.  Hygiene  of  Clothing. 

a.  Clothing  in  relation  to  body  heat.    The  purpose 
of  clothing  primarily  is  to  protect  the  body  from  cold 
and  to  maintain  a  constant  body  temperature.     Heat 
and  energy  are  generated  by  the  body.    If  heat  is  dis- 
sipated too  quickly  by  exposure  of  the  surfaces  of  the 
body,  there  is  waste  of  energy  and  danger.     In  sum- 
mer, clothing  should  not  interfere  with  the  dissipation 
of  heat.    In  winter,  proper  clothing  should  prevent  un- 
due loss  of  heat. 

Study  of  the  qualities  or  properties  of  different  sorts 
of  material,  wool,  cotton,  linen,  silk,  as  to  which  retain 
heat,  moisture,  etc. 

b.  Not  only  heat  of  body  must  be  considered  but 
also  cleanliness.    Study  of  materials  with  this  in  mind. 

c.  Unrestricted  body — a  consideration  of  the  evils 
of  tight  clothing,  high-heeled  shoes,  etc.     (Charts  may 
be  obtained  from  physicians  showing  the  danger  of 
throwing  weight  forward  on  ball  of  foot  instead  of 
sharing  weight  with  heel.) 

d.  Dangers  in  textiles  —  from  dyes,  insanitary  con- 
ditions of  factory,  workshop,  or  home. 

e.  Relation  of  fashion  to  the  hygienic  clothing  of  the 
body.     Should  fashion  dictate  where  laws  of  hygiene 
are  concerned? 


98 Better  Citizenship 

Consider  that: 

Velvet  hats  and  furs  are  worn. 


In  summer^ 


Heavy  clothing  is  often  worn  by  men. 


Coat  suits  of  women  are  often  uncom- 
fortable, 
and 

Straw  hats  are  introduced  in  January. 
Thin  clothing  that  is  suitable  for  indoor 


In  winter  H 


wear  in  steam-heated  buildings,  is 
often  worn  where  conditions  are  not 
so  favorable. 


Origin  of  these  customs  among  the  ultra-fashionable 
—  do  we  have  to  "copy?"  What  of  our  vaunted 
American  independence? 

2.  Economic  and  Sociological  Responsibilities. 

"The  study  of  the  economics  of  consumption  must 
be,  in  a  large  degree,  a  study  of  the  time  and  its  needs, 
a  consideration  of  the  influence  of  factors  large  and 
small  in  the  home  life,  and  a  realization  of  the  re- 
quirements for  woman's  training  for  service  in  the 
home,  and  also  in  civic  and  national  life." 

( i )  Economic  Study  of  Woman  as  a  Textile  Con- 
sumer. (She  has  ceased  to  be  a  producer  except  in  a 
small  way  in  factories.) 

a.  Choice  or  Purchase  of  Material. 

"As  a  class,  women  neither  choose  materials  wisely, 
nor  indicate  satisfactorily  what  shall  be  produced  from 
manufactured  goods  —  hence  are  not  efficient  as  plan- 
ners or  users  of  wealth  for  textiles." 


Through  Art  Training 99 

Consumers'  influence  on  manufacturer  (by  choice). 

b.  Use  and  Care  of  Materials. 

When  cheap  materials  may  properly  be  used,  etc. 
Mending,  brushing,  and  careful  packing  of  good  ma- 
terials. 

c.  Extravagance  of  Consumption 

[Affects     the     market 
due  to  changing  fasmonsi 

Reacts  to  disadvan- 
tage on  character  of 
consumer. 

Sets  a  "bad  example" 
to  others. 


due  to  parasites  among 
women  who  "  show  off  " 
the  wealth  of  the  family 


"  From  the  standpoint  of  the  community  there  is  an 
irreparable  waste  when  human  energy  which  should 
be  directed  to  the  production  of  the  necessities  of  life 
is  diverted  to  the  elaboration  of  superfluous  things." 

Read:  Woman  and  Social  Progress:  A  Discussion 
of  the  Biologic,  Domestic,  Industrial,  and  Social  Pos- 
sibilities of  American  Women  by  Scott  and  Nellie  M. 
Nearing. 

Woman  and  Labor  by  Olive  Schreiner. 

Works  of  William  Morris. 

d.  Domestic  Goods  —  "Made  in  America"  slogan. 

"  Most  of  the  American-made  cloth  compares  favor- 
ably with  that  of  Great  Britain  and  the  continent  of 
Europe,  but  public  demand  for  some  of  the  finest  ma- 


ioo  Better  Citizenship 

terial  is  made  upon  foreign  countries;  consequently 
American  factories  are  obliged  to  specialize  on  me- 
dium-grade fabrics.  Domestic  goods,  when  equal  in 
quality,  should  have  preference  with  American  consum- 


Question:  Have  we  the  technical  equipment  (ma- 
chinery, etc.)  in  America  to  produce  textiles  as  beau- 
tiful as  those  we  import?  (We  could  have,  of  course.) 
Have  we  in  America  designers  of  fabrics  equal  to  the 
designers  or  artists  of  Europe?  (We  could  have.) 

"What  shall  it  profit  a  nation  that  possesses  the 
treasures  of  earth  if  it  cannot  refine  them  to  its  highest 
needs?" 

(Read  articles  by  M.  D.  C.  Crawford,  of  the 
American  Museum  of  Natural  History,  on  this  sub- 
ject.) 

(2)  The  Consumers'  Responsibility  to  the  Producer. 
"A  large  number  of  women  are  consumers  and  users 

of  wealth  rather  than  producers,  and  they  owe  the 
women  workers  their  intelligent  consideration  —  and 
their  assistance  for  further  betterment." 

a.  "SweatShop." 

b.  Consumers'  League. 

c.  Woman's  Trade  Union  League. 

d.  National  Child  Labor  Committee. 
(Government  bulletins  on  the  Condition  of  Women 

and  Children  in  Industry.) 

(3)  Manufacturer's    Responsibility    to    the    Con- 
sumer. 

Honest  labeling  of  goods,  etc. 


Through  Art  Training  101 

3.  Ethical  Standpoint. 

"  It  is  impossible  to  state  the  relation  in  exact  terms, 
but  we  believe  that  adequate,  attractive,  neat  clothing 
is  a  factor  in  virtue,  and  that  being  well  dressed  gives  a 
feeling  of  satisfaction  and  self-confidence  which  often 
enables  the  wearer  to  conquer  a  difficult  situation." 

1 i )  Obligation  to  train  for  the  highest  service  that 
can  be  given  through  wise  consumption. 

Each  woman  must  decide  which,  for  herself,  is  the 
best  method:  Shall  she  wear  ready-made  or  home- 
made clothing?  Buy  a  few  expensive,  exclusive  styles 
that  last;  or  a  greater  number,  perhaps,  of  simple  and 
inexpensive  clothes? 

( 2 )  Obligation  to  consider : 

a.  The  objective  and  subjective  influence  of  dress. 
The  matter  of  modesty.     Beauty  in  clothes.     Self-con- 
fidence. 

b.  The  amount  of  time  that  may  rightly  be  given  to 
the  subject  of  dress. 

Shall  women  adopt  a  uniform  business  dress?  etc. 

BIBLIOGRAPHY 

Baldt,  Laura  I.  Clothing  for  Women:  Its  Selection, 
Design,  and  Construction.  J.  B.  Lippincott  Company. 

Calthrop,  Dion  Clayton.  English  Costume.  The 
Macmillan  Company. 

Challamel,  A.  H.  History  of  Fashion  in  France. 
Sampson,  Low  &  Co.  London,  1882. 

Earle,  Alice  Morse.  Costume  of  Colonial  Times. 
Charles  Scribner's  Sons. 


102 Better  Citizenship 

Earle,  Alice  Morse.  Two  Centuries  of  Costume  in 
America.  The  Macmillan  Company. 

Goldenburg,  Isaac.  Lace:  Its  Origin  and  History. 
Brentano's; 

Hughes,  Talbot.  Dress  Design.  The  Macmillan 
Company. 

Kinne,  Helen,  and  Cooley,  Anna  M.  Shelter  and 
Clothing.  The  Macmillan  Company. 

McClellan,  Elisabeth.  Historic  Dress  in  America. 
(2  vols.)  George  W.  Jacobs  &  Co. 

Planche,  James  R.  History  of  British  Costume. 
The  Macmillan  Company. 

Quigley,  Dorothy.  What  Dress  Makes  of  Us.  E. 
P.  Button  &  Co. 

Racinet,  Albert  C.  A.  Le  Costume  Historique.  (6 
vols.)  F.  Didot  et  Cie.  Paris,  1888. 

Rhead,  G.  Woolliscroft.  Chats  on  Costume.  Fred- 
erick A.  Stokes  Company. 

Robida,  Albert.  "  Yester-Year:  "  Ten  Centuries 
of  Toilette.  Sampson,  Low  &  Co.  London,  1891. 

Woolman,  Mary  S.,  and  McGowan,  Ellen  B.  Tex- 
tiles. The  Macmillan  Company. 

(Costumed  dolls:  "Illustrating  trend  of  feminine 
apparel  from  the  Middle  Ages  to  the  twentieth  cen- 
tury," at  Metropolitan  Museum.) 


Through  Art   Training  103 


ART  HISTORY 

"The  evolution  of  art  is  never  complete;  to  speak 
of  perfection  in  art  is  a  dangerous  error,  for  by  impli- 
cation, it  condemns  artists  to  an  eternal  reproduction 
of  the  same  models,  to  the  renunciation  of  progress. 
The  function  of  men  of  genius  is  rather  to  prepare  the 
way  for  new  tendencies  by  giving  adequate  and  definite 
expression  to  those  of  their  own  times." 

The  history  of  art,  in  its  beginning,  is  a  story  of  ap- 
plied art.  "  From  the  time  of  the  cave-dweller  man 
has  sought  to  spell  out  his  soul  in  line  and  pattern." 
Until  the  time  of  Leonardo  da  Vinci  the  story  of  art 
is  the  story  of  man's  spiritual  longing  "to  decorate 
his  person,  his  weapons,  his  home  and  all  his  belong- 
ings." 

"Soon  after  the  time  of  Leonardo  da  Vinci  art  ed- 
ucation was  classified  into  Representative  (imitative) 
and  Decorative,  with  separate  schools  for  each  —  a  se- 
rious mistake  which  has  resulted  in  loss  of  public  ap- 
preciation. Painting,  which  is  essentially  a  rhythmic 
harmony  of  colored  spaces,  became  sculptural,  an  imi- 
tation of  modeling.  Decorations  become  trivial,  a 
lifeless  copying  of  styles.  The  true  relation  between 
design  and  representation  was  lost."  —  A.  W.  Dow. 

In  studying  art  history  the  foregoing  must  be  kept 
in  mind.  Also  we  must  remember  that  as  art  students 


104 Better  Citizenship 

we  have  certain  standards  by  which  we  may  judge  of 
the  merits  of  a  work  of  art;  for  instance,  we  do  not 
have  to  depend  upon  the  traditional  valuation  of  a  pic- 
ture. It  may  be  that,  because  of  its  historical  or  other 
associations,  because  of  its  reputation,  or  because  it  is 
the  work  of  an  old  master,  its  monetary  value  is  very 
great.  However,  the  catalogue  of  an  art  gallery  should 
not  be  our  sole  criterion.  If  we  are  at  all  sure  of  our 
own  judgment,  if  we  have  had  sufficient  training  in  such 
matters,  we  may  ask  this  question  concerning  any  so- 
called  great  work  of  art :  Is  it  beautiful  or  forceful  in 
line,  in  line  composition  or  spacing;  is  it  beautiful  or 
satisfactory  in  its  tone  relationship;  is  it  beautiful  or 
striking  in  its  color  harmony? 

OUTLINE   FOR  STUDY 

(Using  as  text  A polio  by  Salamon  Reinach.) 

Assignments  may  take  the  form  of  illustrated  lec- 
tures, prepared  or  delivered  by  individual  members  of 
class.  The  stereopticon  may  be  used.  Lantern  slides 
may  be  obtained  from  the  Metropolitan  Museum  or  a 
permanent  collection  may  be  purchased.  Prints  should 
be  ordered  from  different  publishing  houses  by  the  stu- 
dents themselves  for  their  notebooks.  This  individual 
choice  in  the  matter  of  illustrative  material  for  note- 
books is  important  and  brings  about  an  interesting 
diversity. 

1.  The  Origin  of  Art. 

2.  Art  in  the  Stone  and  Bronze  Ages. 


Through  Art  Training  105 

3.  Egypt,  Chaldea,  and  Persia. 

4.  Primitive  Art  in  the  Grecian  Archipelago. 

5.  Greek  Art — and  so  on  through  the  twenty-five 
chapters  of  the  textbook. 

Several  chapters  on  the  same  subject  may  be  assigned 
the  same  student,  and  always  the  student  should  show 
that  the  art  of  the  period  he  is  discussing  reflects  the 
life,  the  belief  of  the  people. 

SUGGESTED  OUTLINE  FOR  FURTHER  STUDY 

1.  The  Barbizon  Painters. 

2.  The  School  of  Impressionists. 

3.  The  Pre-Raphaelites. 

4.  The  Influence  of  the  Far  East  on  Modern  Art. 

5.  American  Painting. 

a.  Colonial  Portrait  Painters. 

b.  The  Hudson  River  School. 

c.  Marine  Painters. 

d.  Modern  Portrait  and  Landscape  Painters. 

6.  The    Modernists,    Post-Impressionists,    Cubists, 
etc. 

Speaking  of  the  French  school  of  the  nineteenth  cen- 
tury, Reinach  says :  "  The  unity  of  this  school  disap- 
peared; we  find  it  embracing  Classicists,  Romanticists, 
Realists,  Idealists,  Impressionists.  Thus,  everything 
points  to  the  assumption  that  schools  will  henceforth  no 
longer  bear  the  names  of  cities  or  of  nations;  there 
will  no  longer  be  rivalries  of  countries,  but  of  prin- 
ciples." 


io6  Better  Citizenship 

After  predicting  this  internationalism  of  art,  he 
closes  his  text  with  these  words: 

"Far  from  believing  that  the  social  mission  of  art 
is  at  an  end,  or  drawing  near  that  end,  I  think  it  will 
play  a  greater  part  in  the  twentieth  century  than  ever. 
And  I  think — or  at  least  hope  —  that  greater  impor- 
tance than  ever  will  be  attached  to  the  study  of  art 
as  a  branch  of  culture.  This  study  is  one  which  no 
civilized  man,  whatever  his  profession,  should  ignore 
in  these  days.  It  is  in  this  belief  that  I  have  prepared 
this  brief  survey,  which  I  hope  may  serve  the  educative 
purposes  of  art." 


BIBLIOGRAPHY 

Bell,  Clive.    Art.     Frederick  A.  Stokes  Company, 
New  York. 

Berenson,  Bernhard.     Works  of: 

Central  Italian  Painters.    G.  P.  Putnam's  Sons. 

Drawings  of  the  Florentine  Painters,  The.  E.  P. 
Button  &  Co. 

Florentine  Painters  of  the  Renaissance.  G.  P. 
Putnam's  Sons. 

Guide  to  Italian  Painting.  The  Macmillan  Com- 
pany. 

North  Italian  Painters  of  the  Renaissance,  The. 
G.  P.  Putnam's  Sons. 

Sienese  Painter  of  the  Franciscan  Legend,  A. 
E.  P.  Dutton  &  Co. 


Through  Art  Training 107 

Study  and  Criticism  of  Italian  Art,   The.     The 

Macmillan  Company. 

Venetian  Painters  of  the  Renaissance.    G.  P.  Put- 
nam's Sons. 

Fenollosa,  Ernest  F.  Epochs  of  Chinese  and  Jap- 
anese Art.  Frederick  A.  Stokes  Company. 

GleizeSj  Albert,  and  Metzinger,  Jean.  Cubism. 
(Translated.)  T.  F.  Unwin,  London,  1913. 

Goodyear,  William  H.  A  History  of  Art.  The 
A.  S.  Barnes  Company. 

Goodyear,  William  H.  Grammar  of  the  Lotus. 
The  A.  S.  Barnes  Company. 

Holborn,  J.  Stoughton.  Tintoretto.  The  Macmil- 
lan Company. 

Hunt,  William  Holman.  Pre-Raphaelitism  and  the 
Pre-Raphaelite  Brotherhood.  The  Macmillan  Com- 
pany. 

Isham,  Samuel.  History  of  American  Painting.  The 
Macmillan  Company. 

Poore,  Henry  R.  The  New  Tendency  in  Art.  Dou- 
bleday,  Page  &  Company. 

Reinach,  Salamon.  Apollo:  An  Illustrated  Manual 
of  the  History  of  Art  Throughout  the  Ages.  Charles 
Scribner's  Sons. 

Smith,  Charles  Sprague.  Barbizon  Days.  Wessels 
and  Bissell. 

Van  Dyke,  John  C.  What  Is  Art?  Charles  Scrib- 
ner's Sons. 

Wright,  Willard  H.  Modern  Painting:  Its  Ten- 
dency and  Meaning.  John  Lane  Company. 

(For  list  of  catalogues  of  Prints,  see  page  52.) 


io8  Better  Citizenship 


STATUS  OF  ART  EDUCATION  IN  THE 
UNITED  STATES 

Very  likely,  when  speaking  of  the  "  social  mission 
of  art,"  Reinach  did  not  have  in  mind  the  introduction 
of  such  subjects  as  City  Planning,  Landscape  Garden- 
ing, House  Decoration,  Costume  Design,  etc.,  into  the 
school  curriculum.  But  his  intuitive  powers  declared, 
no  doubt,  that  in  manifold  ways  the  "educative  pur- 
poses of  art"  would  be  served.  Considering  these 
things,  it  seems  not  inappropriate,  before  closing  this 
syllabus,  to  look  into  the  condition  of  art  education  in 
the  United  States. 

OUTLINE  FOR  STUDY    (QUESTIONNAIRE) 

Assignment  of  theme,  or  class  discussion. 

1.  What  is  your  conception  of  an  art  education? 

2.  How  are  you  to  get  the  proper  training  for  this 
sort  of  education  ?    What  kind  of  training  will  give  you 
an  art  education? 

3.  Where  can  you  get  such  training? 

(A  thorough  study  of  the  art  courses  offered  in  pro- 
fessional art  schools,  in  colleges  and  universities,  in 
private  schools,  and  in  public  schools,  should  be  made. 
Catalogues  from  the  various  schools  should  be  sent 
for,  and  also  the  following  bibliography  consulted.) 


Through  Art  Training  109 

BIBLIOGRAPHY 

Bulletin  of  the  College  Art  Association  of  America. 
January,  1917. 

Dow,  Arthur  W.  Constructive  Art-Teaching.  (Bul- 
letin published  by  Teachers  College,  Columbia  Uni- 
versity.) 

Eliot,  Charles  W.  Changes  Needed  in  American 
Secondary  Education.  (Pamphlet  published  by  Gen- 
eral Education  Board.) 

Report  of  Commissioner  of  Education  (annual). 
(Government  Bulletin  on  Art  Education.) 

Russel-Bonser.  Industrial  Education.  (Bulletin 
published  by  Teachers  College,  Columbia  University.) 

Smith,  E.  Baldwin.  The  Study  of  the  History  of 
Art  in  the  Colleges  and  Universities  of  the  United 
States.  (Pamphlet  published  by  Princeton  University 
Press.) 


EGIONAL  LIBRARY  FACILITY 


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